1. Writing What makes a great movie? Casting, Acting, Directing, script, word choice?

2. The main “author” of a film Screenwriter –Outline most of the action –Create the dialogue –Establish the theme of the film

3. The writer’s contribution actually varies from film to film Some filmmakers have hardly bothered with scripts Scripts – written description of a movies’ dialogue and action, occasionally includes camera directions

4. American cinema Many writer- directors Griffith, Chaplin, Huston, Wilder, Woody Allen, Coppola Majority of important directors have a hand in writing scripts. American studio system encourages multiple authorship Francis Ford Coppola

5. Woody Allen

6. How does a movie get the point across to the viewer? Not necessarily through fine speeches Through the words of the characters Those words need to be believable, not just the writer’s preachments dressed up like dialogue. The Grapes of Wrath p. 410.

7. Casablanca

8. Gone With the Wind

9. Despite the enormous importance of the script, the genius of film comes about in how it is told. There lies the director’s decision on how to use the camera. Mise en scene. See page 413.

10. Consequently, movie scripts rarely make for interesting reading Novelizations – the worst kind of literary biproducts – these are commissioned novel versions of popular films that are usually written post film to cash in on its success.

11. Mockumentaries What seems like a documentary, but really pokes fun at something. Best in Show Spinal Tap

12. Personality Stars Screenplays are often modified by the actors who play the characters. This is especially true in scripts written for personality stars. Gary Cooper

13. On the Waterfront p. 420.

14. Much Ado About Nothing film clip

15. Robin Hood: Prince of Thieves

16. Moulin Rouge

17. Good Dialogue Has to appear real Often the result of having a good ear able to catch the rhythms of speech, the right choice of words, the jargon, slang that people use. Needs to be believable and contribute to character development Reservoir Dogs and Sling Blade (clip)

18. Theme First articulated by the writer In case you forgot, theme is the central message or the point of the film or story. A Streetcar Named Desire

19. SYMBOLS, MOTIFS, AND METAPHORS

20. Symbols Can be palpable things Imply additional meanings The Seven Samurai see text

21. Symbols A figurative device in which an object, event, or cinematic technique has significance beyond it literal meaning. Symbolism is always determined by the dramatic context.

22. Motifs Totally integrated within the texture of the film that they are often submerged or invisible symbols Any unobtrusive technique, object, or thematic idea that systematically repeated throughout a film. Monty Python’s Holy Grail

23. metaphor An implied comparison between two otherwise unlike elements, meaningful in a figurative rather than literal sense. Ex. “poisonous time” “Torn with grief” “Shivering trees” Shakespeare uses this literary device often.

24. Cinematic Metaphors Can be added through special effects such as dissolve. Psycho

25. Cinematic metaphors cont. Editing is a frequent source of metaphors in film, for tow shots can be linked together to produce a third, and symbolic idea. 2001: A Space Odyssey

26. Sometimes metaphors can be shocking Trainspotting

27. Allusion An indirect reference, sometimes respectful, other time scornful, to an artist or work of art. Hot Shots! Part Deux Often times allusion refers to ancient myths or religion

28. Homage In cinema, an overt reference or allusion to another movie, director, or memorable shot. Spielberg – Walt Disney, Alfred Hitchcock, and Stanley Kubrick

29. Point of View 1) First person narrator – telling his own story, sometimes objective an trustworthy. Lord of War and Election

30. 2) The omniscient Often associated with the 19 th century novel Detached or take on personality of their own The camera is omniscient Tom Jones

31. Objective point of view A variation of the omniscient Most detached of all Merely reports evens from the outside Mostly shot from long shot Shallow Hal combines both objective narrator with subjective

32. Third Person A nonparticipating narrator tells the story from a consciousness of a single character Such as Pride and Prejudice

33. Literary Adaptations A great many of films are adaptations of literary sources Requires more skill and discipline than writing an original screenplay. For this reason many films are based on mediocre literature. Some films are superior to their original source of literature Literature and film tend to solve problems differently.

34. 3 types of adaptations Loose, Faithful literal 10 Things I Hate About You

35. Loose Adaptation Generally only an idea, situation, or a character is taken from a literary source. Kurosawa’s loose adaptations of Shakespeare Throne of Blood loosely based on Macbeth

36. Faithful Adaptations Attempt to recreate the literary source in cinematic terms. A translator who tries to find equivalents to the original The problem is translating word into picture – all about interpretation Harry Potter and the Sorcerer's Stone – Chris Colombus and David Heyman promised Rowling they would stay true to her vision.

37. Literal Adaptations Usually restricted to plays Difficulty in handling space and time Camera is left at a long shot –few directors are willing to do this. Long Day’s Journey Into Night