One Less Bitter Actor by Marcus Flanagan

Marcus Flanagan. One Less Bitter: Actor: The Actor’s Survival Guide. Boulder, Co.: Sentient Publications, 2008.

The author observes most actors want their feelings validated, which is a natural response. When actors receive work they feel appreciated. Actors need to realize that not being selected for a job is not a reflection on their work and to let rejections not hurt their feelings. There are numerous reasons why actors are not selected for roles. Talent is not quantifiable. The needs for roles varies amongst each role.

Flanagan advises against attempting to fit into what one thinks is wanted for a job. He urges actors to present their won talents. He notes that even experienced actors are often rejected because they are not suited for specific roles He urges actors not to let rejection hurt them. It is hard to predict what will work when.

It is important for an actor to develop a perception that the actor is one who arrives at work on time, is prepared, and does one’s best.

Do not use stunts to gain attention. The author advises using one’s abilities to gain attention. An actor true to one’s abilities does better than those attempting a false quality based on what one thinks is sought.

Actors leave their photographs and resumes with agents and casting directors. Actors do not go up and ask to meet agents and casting directors. A good head shot is important, yet can be taken by a friend it is a good picture. The picture should resemble have an actor appears when the actors shows for an audition.

An actor should never lie on a resume. It destroys an audition when the lie is uncovered.

A tape of an actor’s work should avoid montages. Simplicity works best.

Many agents appreciate being questioned for their knowledge. It is often helpful for an actor to ask about introduction calls of other agents and what is worth going after in getting an agent. Agents, like most people, like to share their wisdom and advice.

An actor should take a tape of the actor’s work when meeting an agent. Showing enthusiasm helps. If an agent rejects the actor can ask to be hip-pocketed. This is nn industry standard where the agent sends the actor to auditions to learn what is relayed back.

The author recommends leaving a smaller agent for a CAA, ICM, or UTA agent. Agents may claims they take the leaving personally, yet they will realize it is business.

An actor should drop by and see an agent occasionally. It is recommended the actor bring some food.

If an actors hears of an audition the believes would be appropriate but the agent didn’t tell the actor about it, the actor may ask the agent for information about the audition. This request should never be done in an insulting or accusatory manner.

There are no regulations for managers.  If a manager offers to meet an actor, it would be useful for the actor as the manager may know of an agent for the actor to contact. Managers do what agents do yet they don’t have to follow agents’ protocols. They are not supposed to negotiate contracts yet they often do.

It is inappropriate for an actor to stop and seek to see a casting director. Most casting directors do have a drop box, though.

Auditions often run behind schedule. Yet an actor should always arrie ve on time, as it is noted who does so.

Most feedback an actor receives is standard useless information.

Few remember to thank casting directors that hire them. They appreciate recognition.

Often the “easy middle of the road choice” is who gets a role.

Fearfulness of auditions often stems from concentrating too much on large long term results, lack of confidence, and fearing being unprepared. Instead, try and enjoy the audition. An actor should realize what skills the actor has and keep a spark going.

Good actors have focus, are prepared, and present their best, are warn and charming, treat an audition and getting to the audition as work, and treat each audition as its own event. Actor should not wear costumes meant for the part. Actors shouldn’t let outside events affect their audition. Actors should not upset the other waiting actors. Actors should respect their fellow actors.

An actor should arrive to an audition on time, know what is needed for an audition scene, and have the scene memorized. A polite and friendly attitude is usually respected. An actor should show enthusiasm. The actor should look back at a person speaking to the actor.

An actor should not offer to shake hands at an audition. An actor should shake a hand if the hand is offered.

When an actor is asked prior to an audition if there are any questions, an actor should never lead with an apology or ask a general question or question about how to do a scene which makes the actor appear lost.

If an actor is asked if the actor like a script, the actor should answer “I live it”, even if the actor does not. Those auditioning want to know if the actor is onboard with a script they’ve already chosen. They don’t want an actor to change it.

If an actor really  doesn’t like a script and doesn’t want to lie, the actor could answer “I loved my character” to show enthusiasm about the role. If there are no follow-up questions, the actor should note they seek to find out if the actor understands the part.

If an actor is asked for the actor’s age, be generally honest, such as “early” “mid”, “late” whatever decade one is in
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When doing a reading, an actor should read how the actor believes the character is. The actor should not react to the reader, who often is reading in an almost standard monotone voice.

During an audition, it is usually not a big deal if an actor actors for a fresh start if the actor stumbles. Yet the actor should not then do the role the same way, or else those auditioning will presume the actor is someone who wastes their time.

When a reading is finished, the actor should say nothing even if there is silence. A comment from the actor can take away from the reading or make the actor appear insecure.

An actor should not let distractions upset the actor in a callback. One doesn’t need to exactly duplicate a role in the same way as done during the audition.

An actor should not let self-doubt ruin a job. An actor should ask for a dupe from a TV show to place on one’s acting reel upfront. They are more apt to say “yes” upfront than afterwards when they’ve moved on.

Never call someone from wardrobe a “wardroberer”.An actor should give someone from wardrobe their real sizes, If an actor does not know the sizes, have them measure you and the actor should write down the sizes. An actor should show respect to the people in wardrobe. An actor should shower before going to wardrobe and wear underwear. If an actor wishes to keep something in wardrobe, the actor should ask if it may be purchased. Sometimes it is part of inventory and can’t be sold. An actor should not steal wardrobe They may hold the actor’s pay until the actor returns it.

If there is a delay in an actor’s getting to wkr, the actor should call the number given to the actor.

An actor should never ask when work will be over.

If there is a pressing need that affects when a scene will be done, have the agent bring up that matter, preferable during booking.

An actor should not bring friends on the first day. An actor should ask what the rules are if the actor wishes to have friends visit.

Actors wait, And wait, An actor should maintain enthusiasm. An actor should not complain An actor is paid during this waiting.

If SAG rules are broken, an actor should have an agent raise the issue. Those breaking the rule often know they are breaking the rule and are being forced to do so. Pointing out to them what they already know will likely only upset them against the person pointing it out, If another actor raises the issue, an actor should not join in. Everyone will get paid for the infraction so an actor should avoid making enemies. Of course, an actor should speak out if these is an abuse issue.

An actor should never accept an offer for less the amount paid for a rule infraction penalty. The union fought for the penalty and it will diminish the contract process if actors undermine it.

Do not step on cables.

An actor should never complain with fellow actors on or near a set.

“On your mark” / “Hit your mark” refers to an actor standing on a mark taped on the floor.

“Final touches” are what makeup and hair personnel do.

“Turning around” refers to moving cameras and lights to another direction.

“Moving for coverage” is a close-up shot.

“The Marsha” is the day;s third to last in a shoot.

“The Abby” / “Abby Singer” is the day’s second to last in a shoot.

“The martini” is the last day in a shoot.

“Dollar days” is a lottery where everyone contributes and the winner gets all the money. The director, producer, and star actors often put in more money and decline if they win.

An actor should speak only about current work with a director, It is approrpiate to ask about a role. An actor should treat a director respectfully. An actor may ask “does it help if I...” rather than saying “this doesn’t work.” If a director says “No” to a suggestion, an actor should accept the answer.

An actor should know the names of the Director of Photography and camera operators. They are not supposed to seak to actors as that is the director’s job. Yet asking them how you may help can make their jobs easier. this may get an actor betting lighting.

Never touch the slate, or “sticks”.

Actors eat first at catered lunches as they need more time for makeup and hair The crew knows this and accept this.

An actor should tAhank crew members individually.

An actor should never tell another how to do that person’s job.

An actor should not let the attention they legitimately require to let the actor develop Sudden Entitlement Syndrome or Diva Syndrome.

An actor should not take editing decisions personally.

An actor should avoid doing things they don’t like doing in order to propel a career further, Those actions will always be a part of the actor,

An actor should realize that nightmare situations will happen. Casting directors and others can be neurotic, tired, impulsive, etc.

“Your true self is all you have to offer.”

Dan O'Bannon's Guide to Screenplay Structure by Dan O'Bannon

Dan O’Bannon with Matt R. Lohr. Dan O’Bannon’s Guide to Screenplay Structure. Studio City, Ca.: Michael Wiese Productions, 2013.

Screenwriting involves “focusing the audience’s attention into a state of hypnotic concentration on the screen, and holding it for two hours”, according to the author.

The great movies deliver the unexpected. Thus, it is hard to produce anything astonishing when all follow the same screenwriting rules. “The rules embalm screenplays”, according to O’Bannon. Instead, the author recommends following a “story structure system.”

O’Bannon recommends writing and seeking help only when needed.

O’Bannon discovered that screenwriting rules are there be three acts, conflicts portrayed in the first act, and the darkest hour occurs in the second act.. O’Bannon replaces conflict with characters in conflict. He replaces “darkest hour” with “moment of greatest conflict.” He recommends creating an “issue of contention” in the first act and increasing the tension until “backing away from the conflict is no longer possible”, or “the point of no return.” This, thus, is O’Bannon’s system.

O’Bannon defines “story structure” as the preexisting character relationships that bring together the elements that coalesce into a complete story. Story structure is an invisible construction of character relationships as the story progresses.

O’Bannon observes most others screenwriting systems are “striving based” while his system is “fight-based.”

Conflict can exist between characters, a character a non-character (i.e. fire, outer space, etc.), or a character versus himself/herself. Multiple types of these conflicts can exist. O’Bannon recommends that obstacles have their own motives and personalities.

O’Bannon’s three arts are Act 1, where conflict is defined, characters presented, and situations disclosed. Act 2 is where the plot worsens upon the antagonist’s situation until reaching the point of no return. Act 3 resolved the decisive confrontation.

At the point of no return, the stakes are at the very highest possible. The stakes are raised in steps. The conflicts escape.

Science fiction involves changing the rules of Physics.

Actions are what present how characters are.

Drama is “a story about conflict”” often where a “new truth” about the human condition is presented. “Melodrama” usually has more “plot contrivances” that entertain more than expose the human condition. “Tragedy” presents “human frailty.” “Comedy” removes the audience from a characters sufferings as their pains look “ ridiculous” where “laughter negates fear.”

Character should control their paths.

A story should present only what is needed for the story.

A screenplay using hedonic adaptation creates unexpected situations, increases intensities, and raise actions such that the viewers find all these as acceptable.

O’Bannon states there is seldom any relationship between the number of pages in a script and the film’s running time. He finds that one page of a screenplay often does not equal one minute of film, as some claim is usual. O’Bannon observes it is the pace of the script that matters.

A writer should use inspiration to write.

“A producer is the person who makes the picture happen”, according to James Bates. The producer may do whatever the producer wants.

Screenplays by Craig Batty

Craig Batty. Screenplays: How to write and Sell Them. Harpenden, Herts, U.K., 2012.

Screenwriting is creating writing, It is written in an active mode in the present tense.

Final Draft has a screenplay outline. A screenplay includes a slugline, or screen heading, indicating where a scene is set. The shows INT. for an interior setting and EXT. for an exterior setting. The screenplay continues with scene actions, or scene direction, character names, character dialogue, with parentheses underneath the character name to indicate how dialogue should be stated if not obvious for the dialogue, and scene transactions for specific effects.

Short films often present one emotion or one events with focus and often are experimental. Feature films explore more emotions and themes while remaining tightly focused, and usually are traditional yet can be experimental. TV series analyze more characters in more depth.

To find ideas, look around. A writer should consider what the write wishes to tell. There are no rules in developing ideas. One often analyzes possibilities and considers divergent ad convergent thinking. Process and process ideas. Tell and retell ideas. Consider unexpected situations. Determine important elements, themes, and capture imagination, style, and tone that will capture an audience.

Screenwriters often write a scene by scene step outline. They may write a treatment of a fully determined story.

“Casting the world” is when the author creates the characters, develops a protagonist, creates the antagonist, and develops the other characters and their relationships to the world and to each other.

“Structuring the world” is when the author creates the plot, emotions, arc, pace, and actions.

“Viewing the world” is creating the dialogue and determining how the words affect attitudes, perspectives, and topics.

“Theming the world” considers genre and how themes affect characters and how they communicates these themes.

Compelling screenplays are often unique or specific, vivid in detail, and authentic in internal logic.

Hone characters until they find their true voices.

The “defining problem” is what makes characters react that creates the story. “Power questions” consider characters and their desires, needs, dreams, rears, strengths, weaknesses, and problems.

“Backstory questions” give more details after characters.

Consider how characters react to each other, how others react to them, what their backstories are, what they wear and would not wear, how they compose themselves in situations, what their homes are like, what vehicles they drive, where they spend their earnings, their speech patterns, how they speak to those of higher social status, how they speak to people younger and less experienced, their vocabularies, culture, politics, religion, and what they don’t talk about.

Consider the cast design. Who is in conflict and who is friends with the protagonist, who likes and dislikes who, how are characters connected, what make them distinctive, ad what binds them?

The psychological work of Carl Jung and Rollo May examines character functions, how all characters reflect the protagonist, and the need of the protagonist to integrate the qualities of others to achieve goals.

Minor characters often illuminate either major characters and mirror the theme. They often create innovation.

Story structure is important and integral

A journey is both physical and emotional.

The three act structure is:
Act 1: Beginning / Setup / Establishment, including the inciting incident; which is about one fourth the screenplay.
Act 2. Middle / Confrontation / Complications; which is about one half the screenplay.
Act 3. End ‘/ Resolution / Re-establishment; which is about one-fourth the screenplay.

The inciting incident usually occurs in the first 10 to 15 pages.

The Tentpoles of a screenplay are Status Quo, Inciting Incident / Catalyst, Turning Point, End of Act 1, Act 2. Midpoint. End of Act 2, Turning Point, Hardest Choice, Climax  / Final Battle, Resolution, and End.

Sequences in screenplays are establish the story, the inciting incident occurs, creating the plot goal, the the protagonist confronts the problem leading to the end of Act 1, the protagonist acts but the problem remains the protagonist tries harder but faces further obstacles as they stakes increase leading to a mid-point that often creates a new direction, the protagonist adjusts to the mid-point with a new plan, the new plan fails which ends Act 2 and shows the low point where all seems lost, the biggest battle involving the hardest choices creates the climax, often with a false resolution or unexpected twist, and the final resolution of action and emotion.

Alternate structure uses multiple protagonists and parallel stories.

Non-linera immersive storytelling may lack a main character lack a main plot, and have no cause and effect. The audiences becomes participant instead of observers.

Screenwriters must write visually. A screenwriter should think visually. Write in visual grammar including visual actions that give meanings to characters.

Consider setting locaitons that are appropriate to and could create some spice to a story.

A valued object is one that reflects the theme, is seen at least three times, charts a character’s physical and/or emotional growth and often creates humor.

A motif is a recurring image.

A screenwriter exploits the elements of the screenplay’s genre.

Theme is a statement of perspective or judgement.

The Central Dramatic Question drives the plot. The Central Thematic Question drives the emotion.

A scene presents actors and emotions, develops plot and characters, and is a unit of exchange where things occur.

A screenwriter should determine what drives a scene The scene must continue the plot. A scene allows the audience to live the story.

Scenes should often start as late and end as early as possible.

A screenwriter should consider narrative economy, flow, character, and justification when writing a sequence.

A screenwriter should consider focused, tight, and meaningful conversation. Often, write as little as possible to give the desired meaning. Avoid redundant words like “ well, so, ummm, but, yes, no, etc. Use expressive words like Really, It’ can’t be, Oh my God, Yes please, S/he said what, and This can’t be happening.

Writing the Science Fiction Film by Robert Grant

Robert Grant. Writing the Science Fiction Film. Saline, MI.: McNaughton & Gunn, Inc., 2013.

Science fiction requires that science be in the story. The science does not have to be real. Fantasy films are different as they do not rely on science.

Some types of science fiction films involve time travel, space travel, post-apocalyptic worlds, alternative histories, alien beings, alien worlds, robots, superpowers, transformation, and mutation

Cyberpunk stories are about future, high tech societies, with evil corporations and corrupt governments in control with a hero or groups of heroes rising to help the “have nots” of society.

Steampunk are circa Victorian era stories with far advanced innovations.

Alien stories include first contact stories, alien invasions, and monsters.

Apocalyptic event stories, or disaster movies, have Earth falling apart. Some are set in a post-apocalyptic future, after global disaster divides people into “haves” and “have nots”. Dystopian future stories are grim Utopian future sotires often appear happy but with grim undertones.

Space Westerns and Space Operas often have good and bad guys similar to Westerns. It is advised to avoid re-telling old tales and avoid relying on Western movie cliches.

The Military Science Fiction stories are like most other combat stories except wiwth aliens, robots, and high tech weapons.

Superhero and Superpower stories have a hero fighting for justice using supernatural powers.

Mundane Science Fiction deals with real science.

When considering story ideas consider “What if...?”. Consider what is taking place, including new future, with shows things with which people may identify, or the far future which allows greater creativity. Consider known knowns, known unknowns, and unknown un-knows

Know your story’s hero and what the hero brings to the story.

The author believes sidekicks are duplicative and not necessary. What is useful in a story is a hero’s buddy, best friend, or assistant. This second character can provide Muscle to the hero’s intelligence, or can provide comic relief. This second character should have a reason for being there, should not distract, have knowledge or a skill the hero lacks, and should have a contrasting personality.

Consider character to character relations to each other and what to which factions they belong, what factions exist, and whether they are friends or foes.

Consider why a villain exists, what made the villain villainous, how the villain related to the hero, what drives the villain, and what does the villain fear.

Characters with human characteristics and should not be stereotyped.  Common hunan heroes are Alpha Males, the Nerdy Guy, the Al Action Girl, the Best FriendGirl, the Sassy Best Friend, and the Nice Normal Guy

Character names should reflect their personalities and roles, be age (era) appropriate, be usual and unusual, not be similar, and if alien, should not be Earth names. Avoid names that end with an “s” as they are difficult to read.

Consider how similar and dissimilar to humans are the alien characters. GIve them a purpose for being in the story. Consider the universal laws of physics and of organic bodies where each structure of their bodies have purposes.

Consider whose point of view is telling the story.

Develop an exciting plot. It should have rising conflict. The ending should be satisfying. The story should be strong, have lots of conflicts, should aoid being delayed with too many characters, and should constantly move foward.

The story should have a central question or establishing theme. Do not use cliches.

Choose a setting for the story. Consider how the setting changes as the story advances.

The author advises having alien worlds with multiple cultures. An alien world should have consistency, be natural, obey the laws of physics, and should be authentic.

A good technological advance should look like magic. Thus write the magic to make the viewer believe the science fiction. Don’t write contradictory facts. Try for the Right Science. Avoid the Lazy Science of unbelievable plots.

Robot stories are actually about what we identify in being human.

Traveling through space affects the human body in numerous ways. Realism will note these changes.

In reality, one sees where a laser beam hits but not the beam itself.

There is no air pressure outside a spacecraft, There also is no sound in space.

Dialogue should be how people speak. Most people speak informally. Where appropriate, street slang can be used.

When creating an alien language, consider how ti should sound. Use the same lexicon throughout.

Exposition can be hidden Exposition can also be disguised and Exposition can be made into Dramatic Turns.

Flashback s a cheat for lazy exposition is bad. Yet flashback can work when telling an important part of the story.

Montage can use flashes through time, either flashbacks or flashforwards.

Avoid using adverbs that end in -ly.

A script can began in numerous ways, including a normal day, the starting point, with a foreshadowing event, with a dramatic irony, with a montage, or least preferable but still sometimes useful, a voiceover.

The first 10 pages of the script should inform of the the genre, create the setting, establish the tone, present the main and key characters, often present the villain, show the status quo benchmarks, present the main character;s flaws, show the themes, and establish the drama.

In re-writing, eliminate unnecessary words, create a style, don’t overdo details, eep the story interesting by having the main character active and moving the story forward. The motivations and stakes must be clear. The character must be interesting and original rather than obvious. The pace should vary.

The viewer should not be baffled with little known jargon, being expected to be experts in what is presented, not able to understand what they need to know, and not being deluged with technical aspects.

A character voice should consider the character’s personalities, attitudes, pre-occupations, intelligence, profession, and lifestyle.

Avoid expositional writing. Use subtext in dialogue.

Voiceover can add to a movie if done carefully.

The Visual Story by Bruce Block

Bruce Block. The Visual Story: Seeing the Structure of Film, TV, and New Media. Boston: Focal Press, 2001.

Sergie Eisenstein, Vsevolod Pudovlan, and Alexander Dovchenko developed some initial film theories circa 1928. They presented montage theories. Slavko Vorkapich expanded these theories and included theories on movement and editing in the 1950s. In addition, Lester Novros used fine art theories and applied them to motion picture visual aspects. These visual principles are important in understanding film production.

The building blocks of visual characters are 1. the Script, 2. the Music 3. the Sound, and 4. the Visuals. The basic visual components are 1. space, 2. line, 3. shape 4. tone, 5. color, 6. movement, and 7. rhythm.

Space is what physically exists in front of a filming camera. It is what we watch.

Line is what we perceive but isn’t real. Shape is constructed from lines and appears when an object is a silhouette. Tone is what appears along a black and white and gray scale. Color is seen visually. Movement is key to capture one’s visual attention. Rhythm is what is heard.

Music can cue audiences what to expect. Color can also communicate cues if so defined. A recurring event associated with color can provide a color cue.

A “screen” is one for viewing pictures. The “real world is the environment. Images shwon on a screen create a “screen world”. The changing structure creates a “visual progression”. this is framed by the “picture plane”.

Many great films create visual progressions that build intensity. A point expanded into a line than a plane, and then having volume added shows that simplicity turns into complexity, whether doing so visually or in music or in story structure.

“Contrast” refers to differences. “Affinity” refers to similarity. Visual intensity can help create emotional reactions. It can be either simple, or full of affinities, or complex, full of contrast, or what is better, a combination of affinities and contrasts.

“Deep space” is what two dimensional screen shows as a three dimensional illusion. This uses “depth cues” where a viewer perceived depth, which is a “perspective”.

A one-point perspective can turn parallel lines and show they are no longer parallel and they could meet on a vanishing point. A two point perspective can have two vanishing points. Additional vanishing points create illusions of depth. The audience is drawn to a vanishing point presented on screen.

Depth that is presented from changing texture and color details is textual difference.

The illusion of depth can be created by object movement, if the object moves parallel or perpendicular to the picture plane. Relative movement is depth illusion created by multiple objects in motion parallel to the picture plane.

Camera movement can create a feeling of depth. Dolly in creates more depth. Dolly out will make actors look smaller. Dolly left and right are tracking shots.

Aerial diffusion uses air particles to obscure distance. This requires a previous presentation of an unobscured view.

Shape change of an object can create depth.

With tonal separation, a brighter object often appears closer.

Warm colors (red, orange, and yellow) appear closer. Cooler colors (blue and green) appear further away.

Overlay creates depth illusion.

Things higher in a frame are often perceived as farther away than things in the lower frame.

Things closer to a horizon appear father away than objects further away from the horizon.

Depth cues are lost when one loses focus.

The average TV screen of 19 inches (circa 2001) is too small to affectively show some size differences, tonal separation, color separation, and textual diffusion.

Flat space emphasizes the two dimensions. Objects are presented parallel to the picture plane. Things that create depth, such as textural diffusion, are generally avoided. Walking parallel produces flat space. A camera pan, with all objects remaining in position, produces flat space.A camera tilt, up or down on its vertical axis, creates flat space.

A zoom presents flat space. Relative sizes don’t change. It may not appear well. Depth decreases and appears blurry.

Keeping all tones to one third of the gray scale creates flat space.

Flatness can be reduced with showing all warm or all cool colors.

Since overlap creates depth, it should not e used for flat space.

Depth cues can be reversed to create opposing depth perceptions.

Flat space frontal planes can produce deep space longitudinal plans in limited space

Objects in limited space will not show depth by moving towards or away from a camera in limited space.

Ambiguous space, where the viewer can not determine space, results form 1. lack of movement, 2. unfamiliar shapes, 3. camouflage of tonal and texture patterns, 4, mirrors and reflections, 5 using objects whose size is unknown and using camera angles that are disorienting. This is difficult to continue for long as the audience usually finds enough data to comprehend cues where an object is.

To use deep space, shoot with an emphasis on longitudinal plane, have movement towards or away from the camera (i.e. perpendicular to the picture plane), use tonal separation depth cue, move the camera with a dolly, dolly track or crane and use a wide-angle lens.

To shoot with flat space cues, remove longitudinal planes perspective and use frontal planes, place actors parallel to the picture plane with movement parallel to the picture plane (i,e, “flat staging”), use condensed gray scale lighting, use a tripod and zoom lens and possibly a telephoto lens and blue backgrounds.

The ration of a frame;s width to height is the aspect ratio. Standard 35 mm fils is about 1.33:1 aspect ratio. Standard NTSC TC and many computer screens have about a 1.33:1 aspect ration. Most U.S. theater screens have a 1.85:1 aspect ratio. 70 mm films have a 2.2:1 aspect ratio.

A 1.85:1 film can be shown on TV letterboxes, Larger aspect ratio films are often presented so only part of the film’s films is shown on TV.

Anything dividing a frame into smaller areas is a surface divider. Surface divisions can be used to show similar or show differences between objects, to divert emphasis in attention to an area, change the aspect ratio, or add visual rhythms to surface divisions.

Rotating a camera’s lens on an axis can create a visual space.

The linear motif considers the basic lines in a shot.

A straight line often represents aggressive strong, direct, honest, order, industrial, adult, or rigid.

A curved line often represents passive, childlike indirect, nature, romantic, soft, safe, organic, or flexible

The angle of a line in motion is direction. A shot moving objects in the same direction creates maximum affinity.

The inherent intensity of a line is its orientation. The most intense are diagonal lines, followed by vertical lines, with horizontal lines as least intense.

The basic three dimensional shapes are the sphere, cube, and the three sided pyramid.

The circle and the triangle have the most two dimensional contrast. The sphere and the three sided pyramid have the most three dimensional contrast.

An object’s silhouette, rather than the object by itself, should be considered in controlling shape.

Tone considers the brightness range of objects in a shot A viewer is dran to the brightest object. Darkness usually represents tragedy. Brightness usually represents happiness or comedy.

Films often use complimentary hues, often orangish blush.

Using a pair of almost complementary hues is split complementary hues.

A three way split uses any three hues. A four way split uses four hues, such as magna and green for evil and orange and blue-cyan for good.

Audiences have poor recollections of color.

Camera filters can remove specific colors. Lighting can use filters. Note that colors photographed may vary form observable colors. The ASA of a film determines its sensitivity to light, with lower ASAs more prone to color saturation.

Flashing, or exposing film to light twice, may desaturate color and reduce contrast.

Developing film longer, or force developing or pushing, desaturates color.

Various chemicals and film processing techniques change color.

Labs can color correct, or time, film which changes brightness/darkness of black and white film.

Digital uses could provide much color flexibility.

Actual movement is reality. Showing motion of different non-moving objects is apparent movement.

Individual movement occurs when a moving objects makes a stationary object appear to move.

Relative movement is when the motion of an object is observed relative to a stationary object.

Simple moves are horizontal, vertical, diagonal, or circular.

A camera move’s length of travel is scale.

Camera motions can occur at slow, medium, and fast speeds.

When the audience looks is the point of attention. A camera that doesn’t move creates the most contrast. A camera that moves and stops creates visual contrast.Three dimensional moves are needed to create relative movement. Pan/track creates visual affinity. Tilt/crane is often less intense. Dolly lens/dolly with wide lens changes changes objects in frame at the same rate except when a snap zoom quickly zooms.

A tripod or dolly-in mounted camera, or level/un-level, usually creates more affinity compared to a hand-held camera move.

Greater visual intensity usually occurs with a larger camera move, or scale of movement.

The less intense object/camera movement is when the object and camera are stationary The most intense is when both move.

Over-cranking, or slow motion, and under-cranking, or fast motion change an object’s speed.

A smooth cut, with affinity of continuum of movement, is usually not noticed by a viewer.

A contrast of continuum of motion may appear harsh.

Audiences should not observe edits. Shots should appear continuous. The “Lubitsch Touch” of Ernest Lubitsch had affinity of continuum of movement.

The alteration between sound and silence produces rhythm. White sound is continuous and has no rhythm. Visual rhythm is produced by objects that are stationary, that move, and by additional cutting.

“Positive space” refers to a frame’s accented areas. Unaccented areas are “negative space”.

Primary visual rhythm enters and exits a frame, moves behind or in front of something else, starts and stops, or changes direction.

A second rhythm is when an object in primary rhythm has part of it creating a different rhythm.

Editorial repetition happens by the beat of each edit or cut. Pictorial repetition occurs when the same shots are intercut multiple times. Editorial tempo has fast rhyth with quick cuts or slow rhythm with less cuts.

An event is a single action, scene, or group of scenes.

There are no camera cuts in a continuous event. A fragmented event has separate shots.

A fragmented sequence has emphasis when it follows a continuous scene.

The director may change the affinity or contrast.

A script and what works best determines using fragmented or continuous techniques.

Faster tempos usually indicate excitement, happiness, or comedy. Slower tempos indicate calm, tragedy, or sadness.

Fragmentation permits using jump cuts.

A story begins with exposition, has a middle of conflict and climax, and ends with resolution.

Visual intensity is shown through basic visual components.

Choose various components that are best for a film.

Keeping the lens optical center in an axis directly in frton of a pan and tilt moving the camera is nodal point panning and tilting.

Standards lenses, or spherical or flat lenses, photograph 1.33: 1.66, and 1.85 films. Cinemascope deliberately distorts images.

Creative Screenwriting by Tony Bacat and Tony Macnabb

Tony Bicat and Tony Macnabb. Creative Screenwriting: A Practical Guide. Ramsbury, Marlborough, United Kingdom, 2012.

Screenwriters should tap into their imaginations and experiences when telling their creative stories. The limitations of screenplays must be recognized, for the degree of introspection found in novels will not fit into a screenplay. A screenwriters must be creative.

Screenwriters should observe people and events around them. They should create fantasies. They should write their stories, Remember that something has to be told in order for an audience to realize it. They have to be told orally and usually presented with drama.

Courier New 12 is the proper screenwriting font.

A log line can not be longer than 28 words. It may include an overriding theme, set the scene, tell of characters, and present the film’s atmosphere.

A story should appear real. The characters must have conflicts and troubles A plot should cover the why, how, and what of the story.

The character’s mannerisms should be presented upon initial introduction.

Character names should reflect the story’s theme.

Dialogue should reflect how people naturally speak. The dialogue should reflect the character’s nature.

A scene usually should not be more than three pages.

Subtext uses previous information to let an audience know a character is saying one thing yet thinking something different.

Conflict is crucial to the story. The conflict must reflect the different desires of characters There usually should be a moral side to the conflict.The story must test the values, social mores,and taboos that exist.

The throughline, which is the main character’s objectives in the story, guide the plot. The structures draw out the conflicts. Aristotle and Gustav Freytay observed that stories often have a five act structure: 1.) exposition / diegesis, 2.) inciting incident, 3.) climax. 4.) move to conclusion, and 5.) denouement.

Syd Field sees screenplays having a three act structure. Act 1 establishes the story, has an inciting incident, problems emerge leading to a first conflict and then to a climax. Act 2 increases the tension, creates a turning point, reaches a climax, and increasing actions leading to more turning points. Act III sees a reversal, crisis leading to a climax, denouement, and resolution.

A story should conclude with order restored. A character arc should occur. The three act structure does not require a restoration conclusion.

Imagination can be anarchic and a story may be dynamic such hat it does not fit into a formal structure.

Voice overs should also show a picture during the voice over.

An interview voice over, showing character’s thoughts, should increase the visual.

A back story should be presented only if it is important to the story. It will take time away from the current story.

A flashback shows the past.

The “story point of view” shows what viewpoint the story presents.

A movie ending should have closure.

Most films have a climax, denouement, post-climax resultion, finale, and coda.

Climax generates energy for a satisfying conclusion.

Denouement un-knots the story’s threads.

The post-climax resolution creates a psychological resolution for characters.

The finale celebrates the story.

the coda is a grace note that is what one wants audiences to learn.

Some stories do not end happily. An audience has to appreciate how a film ends.

A film’s ending should unite and conclude a story. Often a character finds salvation, achieves a victory,, or obtains redemption. A moral can be involved.

Endings that conclude with despair or damnation could include an extreme irony, the character’s extinction, the character left in a life of hell, or an amoral Satanic apothesis.

Films fit a genre. A formal story often has cliches specific to that genre.

The European Union copyright last 75 years from the writer’s death, This is designed to extend to the lives of grandchildren.

The Writers Guild of Great Britain registers scripts for free

There is no standard contract for screenwriters in the United Kingdom, An agent usually receives 2% of the budge which often ranges from 1% to 3%.

A Paper Life by Tatum O'Neal

Tatum O’Neal. A Paper Life. New York: HaperCollins Publishers, 2004.

Tatum O’Neal filmed the movie “Paper Moon at age 8 and became the youngest person to win an Academy Award. She had met the director Peter Bogdanovich at her father Ryan O’Neal’s home. Ryan was starring in “A Paper Moon”. Bogdanovich thought Tatum’s “scrappy attitude” was what the role demanded. Ryan O’Neal has admitted he was a poor father and stated he hoped Tatum’s performing in the movie “would give her something she never had enough of --- love.” O’Neal discovered that memorizing lines at age 8 was difficult. She ad-libbed some things, such as when she was given water by a minister, she poured the water out, as she felt that was what her character would do.

“A Paper Moon” didn’t bring her love, she states She grew up abused, married a husband who had tantrums, became depressed and developed chemical dependencies.

Tatum’s parents were both actors They divorced after a tabloid told of Ryan’s affair with Barbara Perkins. Tatum lived with her mother. Her mother had her own problems and would take young Tatum to bars. Her mother often neglected Tatum and her brother Griffin. Ryan finally took Tatum away away with him but left Griffin with the mother,

Tatum O’Neal seldom went to school and could barely read at age 8. She found it difficult to memorize lines as she had trouble reading them. She claimed she didn’t like to rehearse so shoe would get “slate”, a statement that surprised Ryan and made him wonder where she learned that.

Tatum understood her part and identified with her character in “Paper Moon”. Her character smoked, yet they used lettuce rather than tobacco.

A line was changed from “Dentyne” to “Juicy Fruit gum” when it was realized Dentyne did exist in the 1930s, when the movie took place It took about 24 shots until 4 am for Tatum to get the new line correctly.

On Oscar night, Tatum’s grandparents took her. Ryan remained in England. Only Madeline Kahn, who was also nominated, attended from the movie “Paper Moon”. There was no celebratory party after her Oscar win. She di not hear from her mother and felt abandoned.

Tatum was next cast in “The Bad News Bears”. Tatum had earned $16,0000 making “Paper Moon” which grossed about $50 million. For “The Bad News Bears she was paid a record amount for a child actor of $350,000 plus a profit percentage, She learned how to pitch a baseball as she played a pitcher in the movie. She pitched daily for three months.

New laws required a tutor on the set, which she did not like.


When “Bad News Bears” drew more of an audience that did “Barry Lyndon”, which Ryan O’Neal starred in, Ryan got up and punched Tatum.

Sue Menger was Tatum’s agent. Tatum attended many of Menger’s parties where she met many actors and observed some of their drug usage.

Tatum appeared on Cher’s TV show Tatum finagled her way into staying with Cher for a few weeks.

Tatum became friends with 18 year old Melanie Griffin. She felt betrayed when her father started having sex with Melanie Griffin. Her father eventually kicked Melanie Griffin out and told Griffin to take Tatum with her. Tatum believes she stayed with Griffin for awhile because Griffin didn’t know what else to do with Tatum. Tatum eventually left and flew home on her own.

Tatum was glad to be cast in the movie “International Velvet” as it was filmed in England and she could be away from her father. She enjoyed filming the movie as the cast got along. She lost her virginity to a stuntman shortly after getting her first period. Tatum was upset that her father attended the movie premiere with a man she had told her father had molested her when she was younger.

Tatum next filmed the movie “Little Darlings”. She didn’t make any friendships on the set and mostly stayed in her room in-between takes.

When Tatum was hospitalized six weeks after a car accident where she had several skin grafts, the only “loving visit” she had was actor Walter Matthau. Her father did not visit. While hearing at home, she writes her father through her a script with the comment “You could do this piece of shit movie.” She did It was “Circe of Two” with Richard Burton. She felt “forced” to film a nude scene and was limping from her accident through the shoots. Richard Burton was nice but would get crude after drinking too much.

Her father left her, at age 16m with her 15 year old brother to move in with his girlfriend actor Farrah Fawcett. Her father even stated in “Vanity Fair” that “I had to make a choice  between Tatum and this girl, and I chose Farrah. Tatum made me choose. I said that’s a bad idea. I sleep with this girl, Tatum, I don’t sleep with you.”

Tatum was in the move “A Certain Fury” directed by Stephen Gyllenhaal. Her father came on the set and attempted to direct her, which she found embarrassing. She insisted her father be taken from the set.

Tatum had two children with her husband John McEnroe, a professional tennis player. She didn’t appear in a move for three and a half years. She studied acting under Sandra Seacast to regain her confidence about acting. She tried for several movies but did not get them. She did an independent movie “Little Noises”. She then took more acting classes under Sandra Seacast.

Tatum starred in a TV miniseries “Woman on the Run”. Her father told her “you’re a terrible actor” which upset her greatly. It was the highest rated show on TV when it ran. She won for Best Actress at the Monaco Film Festival for this role.

Tatum struggled with drugs. She required several visits to rehab centers.