IsmWam

A rough idea of where my time and energy go when writing a feature screenplay: 30% Key decisions upfront. 30% Action lines and quality of the read. 30% Problem-Solving. 10% Dialogue. This is pretty much the inverse of when I first started. My skills and priorities changed.

If you ever get lost while writing a scene, remind yourself: 1) The story of the scene. What changes? How? 2) The emotion you're trying to evoke. Both from the characters and the audience. These two priorities will show you the way out of most trouble.

@wesburt You'll be fine. You've built a strong network and strong skills to match. You'll be fine. Get into telling your own stories. Leverage your skills and network. It's not a layoff it's a push to takeoff with your own intellectual properties. 🫡

the irony of having a one-on-one HR layoff meeting in the conference room with my Loki mural on it

Your character’s most important trait is resilience. Do not let that it sounds like "a rule" fool you. It really is vital and almost always applies. First, audiences admire resilience. It is perhaps what they admire most and what they have the strongest emotional connection to. But resilience also means the protagonist has been challenged. They have been tested through a crucible. Examine your story through that lens. Can you honestly say that one of your protagonists' defining traits is resilience? If not, their journey was likely too easy and therefore not as compelling and emotional as it could be.

When I started writing screenplays, I wrote in 3 Acts. I switched to 4 Acts just before my first sale. Now it's 8 sequences. However you're writing today is likely not how you'll be writing tomorrow. Keep growing. Stay teachable. Experiment. Have fun.

If you can’t define your SCENE as: Get / Escape / Convince / Survive / Choose / Reveal / Hide / Connect / Break / Prepare / Take Control / Stop / Protect / Attack / Test / Prove / Deceive / Uncover / Deliver / Resist You don’t have a scene.... you have talking #screenwriting

@DerekBrocks Where did you watch this?

Enjoyed the Shane Kosugi-directed ninja martial arts actioner "Seek" which despite some budgetary drawbacks in impactful sound design and occasional lighting/framing issues, bolsters fantastic fights including this dope single-take sequence !🥷🔪⚔️😮

@GPrime85 Cartooning can work out fine when you focus on telling compelling & unique stories with a twist. Broad subject matter = broader audience. Think Robert Kirkman. Brian Bendis. All were drawing AND writing in the beginning. What you do is not the issue, how you do it matters most.

Well bros, I'm 40 years old, just did my taxes. It's nice having followers and such, but this cartooning thing isn't working out financially. Maybe I could do storyboards, animation, or teaching. Let me know if any places are hiring, would you? Bonus if they're conservative.

좋은 사이트를 찾아서 공유. Aphrite란 포즈서치 사이트인데 화면과 관절을 돌리며 원하는 포즈를 잡으면 그와 비슷한 인체을 찾아준다. 남녀, 누드 여부 설정도 따로 있고 여러모로 편리함. pose.aphrite.com

Avoid introducing a three-dimensional character in your screenwriting. You'll confuse the reader. They'll think you didn't make a decision. Instead, introduce a one-dimensional character. And then reveal their other two dimensions later in the story.

Brian De Palma explains the importance of establishing the geography and positions of each character before the action of a sequence unfolds.

Screenwriting structure is fractal. • The structure of moments forms a scene. • The structure of scenes forms a sequence. • The structure of sequences forms an act. • The structure of acts forms the story. Each should have its own value. Each is a definite choice.

Screenplay Consultant notes I give the most: 1. STORY DNA (Hero, Goal, Obstacle, Stakes). 2. Clarity of Character Arc (the flaw is muddy, the learning moments lacking, the arc disconnected to plot). 3. Character Agency. 4. Cause/Effect Storytelling(see #1). #screenwriting

@HwoodScrptReadr Good structure is why a script is a quick read and has emotional resonance. But too many people judge structure by what they think they're supposed to do rather than what gives them those desired results.

My process. I've read all the books, studied all the theory, and know all the lingo. And all of that is useful – up to a point. Do I notice what page the "inciting incident" or the "all is lost" moment falls on? Yes, I do but it rarely factors into my consideration. The most important – maybe the only thing I monitor when I'm reading is my emotional response. Am I bored or engaged? Am I rushing to reach the end or savoring every moment? Often the speed at which I'm reading tells the tale. Does the comedy make me laugh? Does the drama move me to tears? Do the suspense and the scares make my heart race? Do I care about the characters? That's the big one. Am I saying that story structure doesn't matter? Of course not. Some of the best scripts break all the rules and yet others follow the template to a T. What about format? I'm old-school so when I see the wrong font or improper margins it sticks in my craw as does bad grammar and spelling. But I would never pass on a script just because it's a little messy. What matters most is how does it read. And that takes me back to the first point. There's really only one question I need to ask myself: am I enjoying the story or not? Because the purpose of movies is to entertain people and sure, make money. I am a person. So if I'm entertained, chances are other people will be too and might buy a ticket for the privilege. Do you see where I'm going with this? These are all advantages I have as a human being. They are qualities that an AI does not possess and maybe never will. Can a chatbot feel emotion? Not until it has a body, it can't. Does it care how the story ends? No, it does not. Now a lot of people might call this "cope." I'd be lying if I said I'm not a little worried about keeping my job like most people who do this kind of work. And there are some things the AI can do much faster than me. It can read a script and spit out a synopsis in seconds. Not always an accurate one, but it will get better I have no doubt. But letting an AI decide if it's a PASS or a CONSIDER? To greenlight or not? I wouldn't trust it to make that call. Not when there are millions of dollars on the line. You want me in the room. Or someone like me. Someone who can laugh at the joke or feel the heartbreak. Someone who gives a fuck

Filmmaking tip: if a scene feels flat in rehearsal, assign each actor a hidden objective they never say out loud. Not emotion. Objective. One wants reassurance. One wants control. One wants out. Sometimes it's missing from the script, sometimes it's just not coming out as expected. Suddenly the scene has pressure. Pressure creates behavior. Behavior reads better than explained feelings. One of the director's greatest skills is working with actors to get the story told. One must be able to communicate well to get the performance.

@vashikoo So IMPACT frames like in anime. 😗

T2 James Cameron Flash Frame Editing Trick: In action scenes, he will insert a single white frame to create a percussive visual hit that the brain reads as extra impact. In ALIENS, the pulse rifle bursts always had single white frames dropped in for added pop.

📌 Debjit Dutta 작가님이 무료배포 중인 브러시 컬렉션 Free Brush Collection by Debjit Dutta 🖌️ 양도 많고 퀄리티도 좋은 브러시들입니다. 꼭 받으세요! 지속적으로 업데이트 예정이라고 하니 유용하셨다면 팔로우와 RT로 작가님을 응원해 주세요! Thank you so much!🙌

SCREENWRITING ACT 2 A note I've given A LOT lately: DOMINO LOGIC: If the next scene is a choice… you’re in trouble. It should be a consequence. Some of this goes back to soft Story DNA/loglines. Stories with weaksauce HERO/GOAL/OBSTACLE/STAKES have weaksauce casualty.

99% of loglines I read don't make it clear: - What's new or unique about this movie. - What's the engine for fun, thrills, drama or laughs. - Who the movie is for. Worry less about the format. Who, what, where, and why is the easy part. Worry more about getting THE CONCEPT right. That's what gets people excited. A project's logline can be shared 100x over the phone and in emails. It will get mangled each time. If it keeps going, it is because what survives each time is the concept. That clear, concise idea that generates great scenes. No amount of tinkering will save a logline if the clear concept isn't there.