SCREENWRITING编剧课件

SCREENWRITING – COURSE OVERVIEW

编剧课程 – 课程概览

· BASIC ELEMENTS OF SCREENWRITING

· 编剧的基本要素

· ELEMENTS OF A SCREENPLAY

· 剧本的构成元素

· PUTTING IT TOGETHER

· 整合起来

· REWRITE – Making a good script GREAT

· 重写 – 把好剧本变成优秀剧本

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Course Overview

课程概览

· The Business of Screenwriting

· 编剧行业

· Visual Story Telling

· 视觉化叙事

· What NOT to write

· 什么不要写

· Dedicated Script Writing Program

· 专门剧本写作项目

· Concept, Pitch and Treatment

· 概念、口头提案与故事大纲

· Beat Sheet Defined

· 节拍表定义

· Script Formatting

· 剧本格式

· Core Questions

· 核心问题

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DAY 1 – The Basic Elements of Screenwriting

第一天 – 编剧的基本要素

· Genres and Categories

· 类型与类别

· Character Bios

· 人物简介

· Character/Conflict

· 人物/冲突

· Dialogue & Exposition

· 对白与说明

· Titles

· 片名

· 1st Draft due

· 提交初稿

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DAY 2 – Elements of a Screenplay

第二天 – 剧本的构成元素

· Hollywood Script Breakdown

· 好莱坞剧本拆解

· Read-Throughs / Critique

· 通读 / 点评

· Approaches and structures for documentary screenwriting

· 纪录片剧本创作的方法与结构

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DAY 3 – Putting it Together

第三天 – 整合起来

· “Final Draft” Script due

· 提交“终稿”剧本

· Script Readings/Critiques/Course Recap

· 剧本朗读 / 点评 / 课程回顾

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DAY 4 – Principles of Rewrites

第四天 – 重写原则

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The Writer In You

你内心的作家

· Who are you?

· 你是谁？

· What are your influences?

· 你受到谁/什么的影响？

· What was the first story you knew you had to tell?

· 你最早觉得非讲不可的故事是什么？

· What are you writing next?

· 你接下来要写什么？

· Why do you want to be produced?

· 你为什么希望自己的作品被制作出来？

· What kind of material environment do you need in order to flourish?

· 你需要什么样的物质环境才能蓬勃发展？

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Visual Story Telling

视觉化叙事

· High Concept

· 高概念

· One Sheets

· 一页纸简介

· GMC:

· GMC（目标/动机/冲突）

  · Goal – What does he want?

  · 目标 – 他想要什么？

  · Motivation – Why does he want it?

  · 动机 – 他为什么想要？

  · Conflict – Why can't he get it?

  · 冲突 – 他为什么得不到？

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The Business of Screenwriting

编剧行业

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What NOT to write for Hollywood

在好莱坞什么不要写

· Don't adapt your favorite Book

· 不要改编你最喜欢的书

· Avoid the Biopic / no "Life" stories

· 避免传记片 / 不要“人生”故事

· Don't Mock Hollywood

· 不要嘲讽好莱坞

· No "struggling" writers, directors or actors

· 不要写“挣扎求生”的编剧、导演或演员

· No Carnies

· 不要写嘉年华工人

· Avoid Parodies and Mockumentaries

· 避免恶搞片和伪纪录片

· Don't Mention 9/11

· 不要提 9/11

· Don't Invent your own Super hero (or game!)

· 不要创造你自己的超级英雄（或游戏！）

· No Kiddie Movies

· 不要写儿童电影

· No Musicals

· 不要写音乐剧

· No Epics

· 不要写史诗片

· Rape, Drug Abuse, Domestic Violence (May be inciting incident)

· 强奸、吸毒、家暴（可以作为激励事件）

· You are not a "Franchise" Mogul

· 你不是“系列大片”大亨

· Please NO Sequels or Trilogies

· 请不要写续集或三部曲

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What TO Write for Hollywood

在好莱坞应该写什么

· Set your concept in Reality

· 把概念建立在现实中

· Present Day Only

· 只写当代

· One Hero Only

· 只有一个主角

· Time Crunch or Ticking Clock

· 时间紧迫或倒计时

· Use a Straight Timeline

· 使用线性时间线

· Bend Reality

· 适当扭曲现实

· Your Hero must ACT

· 你的主角必须行动

· Make them face Prison or Death if they fail

· 让他们面临失败即入狱或死亡的后果

· Deliver Fantasy and Sensation

· 提供幻想和感官刺激

· Set it in the neighborhood

· 把场景设在普通社区

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Concept

概念

· Use Scientific Breakthroughs

· 利用科学突破

· OPEN the Newspaper

· 翻开报纸

· Take a popular Genre word and add "wars"

· 拿一个流行的类型词，加上“大战”

· Turn Wholesome into Twisted

· 把正能量的东西变扭曲

· Twist the Setting or Perspective

· 扭曲设定或视角

· Mix up Title, Star and Genre

· 混搭片名、明星和类型

· Revamp Concepts by Tweaking: Gender, Genre, Age and Race

· 通过调整性别、类型、年龄和种族来改造概念

· Use a Fairy tale or Literary Classic, MYTHS

· 使用童话、文学经典、神话

· When in doubt, set it in high school

· 不确定的时候，就把故事设在高中

· Old Framework, Modern Genre

· 旧框架，现代类型

· Recast the Villain as the Hero

· 把反派重塑为主角

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Core Questions

核心问题

· THE DRAMATIC QUESTION

· 戏剧问题

· THE MAIN CONFLICT

· 主要冲突

· THE DILEMMA

· 两难困境

· THE THEME

· 主题

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Dedicated Script Writing Program – Overview

专门剧本写作项目 – 概览

· Movie Outline, Save the Cat, Contour

· 《电影大纲》、《救猫咪》、《结构》

· Final Draft, Movie Magic Screenwriter, Adobe Story

· Final Draft、Movie Magic Screenwriter、Adobe Story

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Save the Cat Beat Sheet（源自《救猫咪》节拍表）

· Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins

· 开场画面 – 代表故事冲突和基调的视觉画面。主角在冒险开始前的问题快照。

· Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.

· 主题呈现（发生在铺垫中）– 你的故事关于什么；信息、真相。通常由某个角色说给主角听或在主角面前说，但主角此时并不理解……直到他们有了一定的个人经历和背景来支撑它。

· Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.

· 催化剂 – 生活从此改变的时刻。电报、当场抓到伴侣出轨、让怪物上船、遇见真爱，等等。“之前”的世界不复存在，改变正在发生。

· Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.

· 争执 – 但改变是可怕的。主角在某个或某几个短暂瞬间怀疑自己必须踏上的旅程。我能面对这个挑战吗？我有这个能力吗？我到底该不该去？这是主角最后的机会打退堂鼓。

· Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.

· 进入第二幕（选择第二幕）– 主角做出选择，旅程开始。我们离开“正题”世界，进入第二幕倒置的、相反的世界。

· Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.

· B故事 – 通常是关于主题的讨论——真理的核心。通常发生在主角和恋爱对象之间。所以 B 故事通常也叫“爱情故事”。

· B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.

· 前提的承诺 – 故事中最有趣的部分。主角探索新世界，观众享受他们所期待的前提带来的娱乐。

· The Promise of the Premise – This is the fun part of the story. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

· 中点 – 取决于具体故事，这个时刻要么“一切大好”，要么“一切糟透”。主角要么得到了他们以为想要的一切（“大好”），要么根本没得到他们以为想要的东西（“糟透”）。但我们以为想要的东西，并不总是我们最终真正需要的。

· Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.

· 坏人逼近 – 怀疑、嫉妒、恐惧、身体和情感上的敌人重新集结，要击败主角的目标，主角的“大好”/“糟透”的局面开始瓦解。

· Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

· 一无所有 – 与中点相反的時刻：“糟透”/“大好”。主角意识到他们失去了一切所得，或者他们现在拥有的一切都没有了意义。最初的目标现在看起来比以往更加不可能。在这里，某个东西或某个人会死亡。可以是物理的或情感的，但旧事物的死亡为新事物的诞生让路。

· All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.

· 灵魂的黑夜 – 主角跌入谷底，陷入绝望。“主啊，你为什么离弃我？”的时刻。哀悼已经“死去”的东西——梦想、目标、导师角色、你的一生挚爱等等。但你必须完全坠落，才能重新振作，再次尝试。

· Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The “Why hast thou forsaken me, Lord?” moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.

· 进入第三幕（选择第三幕）– 多亏了一个新的想法、新的灵感，或者来自 B 故事（通常是恋爱对象）的最后关头主题建议，主角选择再次尝试。

· Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

· 终场 – 这一次，主角将主题——现在对他们来说有意义的真理核心——融入到为目标而战的努力中，因为他们有了 A 故事的经验和 B 故事的背景。第三幕是关于“综合”的！

· Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!

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SCREENWRITING – DAY 2

编剧 – 第二天

GENRES

类型

GENERIC GENRES

通用类型

STC Genres（《救猫咪》类型）

· DUDE WITH A PROBLEM

· “哥们儿有麻烦”

· GOLDEN FLEECE

· “金羊毛”

· BUDDY LOVE

· “伙伴之爱”

· INSTITUTIONALIZED

· “体制化”

· RITES OF PASSAGE

· “成长仪式”

· SUPERHERO

· “超级英雄”

· OUT OF THE BOTTLE

· “出瓶子的魔法”

· THE FOOL TRIUMPHANT

· “傻瓜获胜”

· WHYDUNIT

· “为什么破案”

· MONSTER IN THE HOUSE

· “屋中有怪物”

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TITLES

片名

· DO Same title as the best selling book that the movie is based on

· 应该做：和电影所依据的畅销书同名

· DO Intriguing titles

· 应该做：引人入胜的片名

· DO Titles that instantly give us the story/environment

· 应该做：能立刻传达故事/环境的片名

· DON'T A long title without a reason for it being long

· 不要做：没有理由的长片名

· DON'T A title that you have to watch the movie to understand it

· 不要做：必须看完电影才能理解的片名

· DON'T A title that confuses or causes a person to think it is another genre or type of movie.

· 不要做：让人困惑或误以为是另一种类型电影的片名

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SCREENWRITING – DAY 3

编剧 – 第三天

· 1st Draft Critiques

· 初稿点评

· Hollywood Script Breakdown

· 好莱坞剧本拆解

· Approaches and structures for documentary screenwriting

· 纪录片剧本创作的方法与结构

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DAY 3 – Putting it Together

第三天 – 整合起来

· REWRITE INTRODUCTION

· 重写介绍

· Islands:

· “岛屿”模型：

  · Dialogue & Exposition

  · 对白与说明

  · Descriptive Words

  · 描述性词语

· Ocean: Subtext

· “海洋”：潜台词

· Plot – Concept, theme, structure

· 情节 – 概念、主题、结构

· Character

· 人物

· Situation

· 情境

· Action

· 行动

· GMC: Goal / Motivation / Conflict

· GMC：目标 / 动机 / 冲突

· ALL STC GENRES

· 所有《救猫咪》类型

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DAY 4 – REWRITE: Making a good script GREAT

第四天 – 重写：把好剧本变成优秀剧本

IMPROVING YOUR SCRIPT

改进你的剧本

CONFLICT/TENSION

冲突/张力

1. Make the scene's conflict the most compelling, juicy, interesting problem you can.

   让场景中的冲突成为你能想到的最有吸引力、最丰满、最有趣的问题。

2. Have the main character want something that is difficult to get or achieve and other characters are trying to keep the lead from getting it.

   让主角想要某件难以获得或实现的东西，而其他角色则试图阻止主角得到它。

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Conflict Checklist

冲突检查清单

1. Is the main conflict here the most interesting, juicy, compelling conflict for this scene?

   此处的主要冲突是这个场景中最有趣、最丰满、最有吸引力的冲突吗？

2. Is one or more of the characters going for some kind of goal that is important to them or avoiding some kind of pain/problem?

   是否有一个或多个角色在追求某个对他们很重要的目标，或者在逃避某种痛苦/问题？

3. Are there conflicting agendas among the characters that can increase the conflict?

   角色之间是否存在相互冲突的意图，可以增加冲突？

4. Does the conflict affect the main character's inner and outer goal?

   冲突是否影响主角的内在目标和外在目标？

5. Is there someone or something trying to keep the characters from reaching their goal?

   是否有人或事在阻止角色达成他们的目标？

6. Can you demonstrate the opposition or threat to the goal in a more vivid/frightening way?

   你能以更生动/更可怕的方式展示对目标的阻碍或威胁吗？

7. Can there be opposing solutions or a choice between two negatives?

   能否有对立的解决方案，或者在两个坏选项中做选择？

8. Can a decision be made that increases the tension?

   能否做出一个增加紧张感的决定？

9. Can a potential solution backfire and cause even more problems?

   某个潜在的解决方案会不会适得其反，引发更多问题？

10. Can a deadline force a decision or action that may not be the best one?

    截止日期是否会迫使角色做出不一定最好的决定或行动？

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DRAMATIC IRONY

戏剧性反讽

· Reveal something important to the audience that one or more of the characters don't know. Have that information be critical to the success or failure of the characters who don't know.

· 向观众揭示某个或某些角色不知道的重要信息。让该信息对不知情角色的成败至关重要。

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TWISTS THAT KEEP THE READER GLUED TO THE PAGE

让读者欲罢不能的转折

1. Something planned for doesn't happen.

   计划好的事情没发生。

2. Lost their resources.

   资源丢失。

3. Someone changes sides.

   有人倒戈。

4. A new problem occurs.

   新问题出现。

5. A lie is uncovered.

   谎言被揭穿。

6. New consequences emerge.

   新的后果出现。

7. New options emerge.

   新的选项出现。

8. A mistake returns to haunt them.

   曾经的错误回来找麻烦。

9. A trust is violated.

   信任被背叛。

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SETUP/PAYOFF

铺垫/ payoff

Create setups and payoffs that give your story more depth.

创建让故事更有深度的铺垫和 payoff。

Setups can: / 铺垫可以：

· A. Foreshadow upcoming events.

  预示即将发生的事件。

· B. Mislead the audience.

  误导观众。

· C. Challenge the characters.

  挑战角色。

· D. Be the basis for future solutions.

  成为未来解决方案的基础。

Payoffs can: / Payoff 可以：

· A. Surprise the audience.

  让观众感到意外。

· B. Create excitement.

  制造兴奋感。

· C. Add new meaning to the setup.

  为铺垫增添新的含义。

· D. Twist the story in a new direction.

  把故事转向新的方向。

· E. Provide closure.

  提供结局感。

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SETTINGS THAT ADD TO THE DRAMA

能增强戏剧性的场景设置

Ask these questions to choose the best setting:

问这些问题来挑选最佳场景：

1. What is the feel I want from this scene?

   我想从这个场景中获得什么感觉？

2. What is the main conflict of this scene?

   这个场景的主要冲突是什么？

3. What setting would provide that feel and/or enhance that conflict?

   什么样的场景能提供那种感觉和/或强化那种冲突？

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CREATING CRUCIBLES

创造“熔炉/高压环境”

Creating a crucible is easy. Consider your story and ask these questions:

创造高压环境很容易。思考你的故事，问这些问题：

A. What closed environments already exist that can be used as crucibles?

已经存在哪些封闭环境可以用作高压环境？

B. Where are the conflicts in the story that would be intensified by creating a crucible?

故事中的哪些冲突会因创造高压环境而加剧？

C. What characters would you like to confront each other and what crucible could make that possible?

你希望哪些角色相互对峙？什么样的高压环境能让这成为可能？

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MISLEADS AND REVEALS

误导与揭示

Here's a strategy for writing scenes with misleads and reveals.

以下是编写带有误导与揭示的场景的策略。

1. Make a list of the things you want to reveal in the scene.

   列出你希望在这个场景中揭示的内容。

2. With each reveal, create a mislead that causes the audience to be surprised or relieved when they discover the truth.

   针对每个揭示，创建一个误导，让观众在发现真相时感到惊讶或如释重负。

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GIVE YOUR SCENE A FUTURE

给你的场景一个“未来”

Propel your audience into the future of your script through one or more of these methods:

通过以下一种或多种方法，将观众推向剧本的未来：

1. Have them talk about something in the future of the movie.

   让他们谈论电影中未来会发生的事。

2. A warning.

   发出警告。

3. Create suspense – worry about some future incident.

   制造悬念 – 让观众为未来某件事担忧。

4. Create uncertainty about a future decision.

   对未来某个决定制造不确定性。

5. A twist that requires us to read farther.

   一个需要继续看下去的转折。

6. Hooks that make us wonder.

   让我们产生好奇的钩子。

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ON TO THE SILVER SCREEN

走向大银幕

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如需将这份内容转换为纯文本、Word 或 PDF 格式，或者提取其中某个模块（如《救猫咪》节拍表）单独输出，请随时告知。