screenwriters."—TONY apparently emphasis

Recommendations

Info

PRAISE FOR SYD F I E L D"[Syd Field is] the most sought-after screenwriting teacher in theworld."—Hollywood Reporter"Syd Field is the preeminent analyzer in the study of American screenplays."—JAMES L. BROOKS, Academy Award-winning writer, director, producer"I based Like Water for Chocolate on what I learned in Syd's books. Before,I always felt structure imprisoned me, but what I learned was structurereally freed me to focus on the story."—LAURA ESQUIVEL, writer, Like Water for Chocolate"If I were writing screenplays ... I would carry Syd Field around in myback pocket wherever I went."—STEVEN BOCHCO, writer/producer/director, NYPD Blue"Syd Field's book[s] have been the Bible and Talmud for a generation ofbudding screenwriters." —Salon.comSCREENPLAY:The Foundations of Screenwriting" Screenplay is one of the bibles of the film trade and has launched many awould-be screenwriter on the road to Hollywood."—Library Journal"[Syd Field is the] guru of would-be screenwriters __ Screenplay is theirbestselling bible."—Los Angeles Herald Examiner"Full of common sense, an uncommon commodity."—Esquire"Quite simply the only manual to be taken seriously by aspiring screenwriters."—TONYBILL, Academy Award-winning producer, director"Impressive because of its rare combinations: a technical book, apparentlymechanically sound, that's quite personable and lively and alsoseems to care about us, about our doing things right and making good.His easy-to-follow, step-by-step approaches are comforting and his emphasison right attitude and motivation is uplifting."—Los Angeles Times Book Review
Page 4 and 5: "A much-needed book."—FRANK PIERS
Page 6 and 7: GOING TO THE MOVIES:A Personal Jour
Page 8 and 9: SYD FIELDSCREENPLAYTHE FOUNDATIONS
Page 10: To all those who went beforeand to
Page 14 and 15: ContentsIntroduction 11. What Is a
Page 17 and 18: Introduction"The book says that we
Page 19 and 20: — INTRODUCTION— 3placed within
Page 21 and 22: — INTRODUCTION— 5impact a serie
Page 23 and 24: — INTRODUCTION— 7without using
Page 25 and 26: — INTRODUCTION— 9no longer had
Page 27 and 28: — INTRODUCTION— 11The more I th
Page 29 and 30: — INTRODUCTION— 13Phelan wrote
Page 31 and 32: What Is aScreenplay?"Suppose you're
Page 33 and 34: — WHAT IS A SCREENPLAY?—17I don
Page 35 and 36: — WHAT IS A SCREENPLAY?— 19scre
Page 37 and 38: — WHAT IS A SCREENPLAY?— 21of w
Page 39 and 40: — WHAT IS A SCREENPLAY?— 23but
Page 41 and 42: — WHAT IS A SCREENPLAY?— 25to t
Page 43 and 44: — WHAT IS A SCREENPLAY?— 27If w
Page 45 and 46: — WHAT IS A SCREENPLAY?— 29the
Page 47 and 48: "Rosebud . . .Maybe that was someth
Page 49 and 50: — THE SUBJECT — 33camera moves
Page 51 and 52: — THE SUBJECT— 35throughout thi
Page 53 and 54:
— THE SUBJECT— 37There are two
Page 55 and 56:
— THE SUBJECT— 39a story. I had
Page 57 and 58:
— THE SUBJECT— 4)works or doesn
Page 59 and 60:
The Creation ofCharacter"What is ch
Page 61 and 62:
— THE CREATION OF CHARACTER— 45
Page 63 and 64:
— THE CREATION OF CHARACTER — 4
Page 65 and 66:
Page 67 and 68:
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Page 71 and 72:
— THE CREATION OF CHARACTER — 5
Page 73 and 74:
Page 75 and 76:
Building aCharacter"Amos Charles Du
Page 77 and 78:
— BUILDING A CHARACTER— 61There
Page 79 and 80:
— BUILDING A CHARACTER— 63I wan
Page 81 and 82:
— BUILDING A CHARACTER — 65dram
Page 83 and 84:
-BUILDING A CHARACTER — 67Andy ha
Page 85 and 86:
— BUILDING A CHARACTER — 69Broo
Page 87 and 88:
— BUILDING A CHARACTER— 71One o
Page 89 and 90:
— B UIL DIN G A CHARACTER — 73t
Page 91 and 92:
— STORY AND CHARACTER— 75, figh
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— STORY AND CHARACTER— 77conser
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— STORY AND CHARACTER— 79"the s
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— STORY AND CHARACTER— 81From n
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— STORY AND CHARACTER— 83sugges
Page 101 and 102:
— STORY AND CHARACTER— 85The me
Page 103 and 104:
— STORY AND CHARACTER— 87the st
Page 105 and 106:
Endings andBeginnings"Forget it, Ja
Page 107 and 108:
— ENDINGS AND BEGINNINGS— 91ter
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T— ENDINGS AND BEGINNINGS— 93Do
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— ENDINGS AND BEGINNINGS— 95dra
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— ENDINGS AND BEGINNINGS- 97exper
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— ENDINGS AND BEGINNINGS— 99Lea
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— ENDINGS AND BEGINNINGS— 101th
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— ENDINGS AND BEGINNINGS— 103em
Page 121 and 122:
-ENDINGS AND BEGINNINGS- 105Determi
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— SETTING UP THE STORY— 107The
Page 125 and 126:
— SETTING UP THE STORY— 109Gitt
Page 127 and 128:
— S E T T I N G UP THE STORY— 1
Page 129 and 130:
— SETTING UP THE STORY— 113CURL
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— SETTING UP THE STORY— 115the
Page 133 and 134:
— SETTING UP THE STORY— 117GITT
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— SETTING UP THE STORY— 119"PRO
Page 137 and 138:
— SETTING UP THE STORY— 121COUN
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Page 143 and 144:
Two Incidents"Incident: A specific
Page 145 and 146:
— TWO INCIDENTS— 129along with
Page 147 and 148:
— TWO INCIDENTS— 131Robert (Cli
Page 149 and 150:
— TWO INCIDENTS— 133attack on t
Page 151 and 152:
— TWO INCIDENTS— 135the ideal A
Page 153 and 154:
— TWO INCIDENTS— 137with Ordina
Page 155 and 156:
— TWO INCIDENTS— 139stories ...
Page 157 and 158:
— TWO INCIDENTS— 141and make th
Page 159 and 160:
-PLOT POINTS — 143get there. Some
Page 161 and 162:
— PLOT POINTS— 145The script op
Page 163 and 164:
— PLOT POINTS— 147These two Plo
Page 165 and 166:
— PLOT POINTS— 149receives a ph
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— PLOT POINTS — 151The Plot Poi
Page 169 and 170:
— PLOT POINTS— 153believes in t
Page 171 and 172:
— PLOT POINTS— 155accept the ch
Page 173 and 174:
— PLOT POINTS— 157something to
Page 175 and 176:
— PLOT POINTS — 159Chinatown. A
Page 177 and 178:
— THE SCENE— 161laments, "Of al
Page 179 and 180:
— THE SCENE— 163on the page. Th
Page 181 and 182:
— THE SCENE— 165Scene changes a
Page 183 and 184:
— THE SCENE— 167ie enters the s
Page 185 and 186:
— THE SCENE— 169about Jane's da
Page 187 and 188:
— THE SCENE— 171VINCENTYou're a
Page 189 and 190:
— THE SCENE— 173(beat)VINCENT (
Page 191 and 192:
— THE SCENE— 175VINCENTNo, I ju
Page 193 and 194:
— THE SCENE— 177MAXBut you know
Page 195 and 196:
— THE SCENE— 179Act II and lead
Page 197 and 198:
— THE SCENE— 181That's the situ
Page 199 and 200:
"Form follows structure; structure
Page 201 and 202:
— THE SEQUENCE— 185we see how f
Page 203 and 204:
— THE SEQUENCE— 187of Act I, th
Page 205 and 206:
— THE SEQUENCE— 189scripts are
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— THE SEQUENCE— 191values are n
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— THE SEQUENCE— 193tense, visua
Page 211 and 212:
— THE SEQUENCE— 195hanging out
Page 213 and 214:
— THE SEQUENCE— 197excellent la
Page 215 and 216:
Building theStory LineGIOVANNI :"I
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— BUILDING THE STORY L I N E —
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— B U I L D I N G THE STORY L I N
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Screenplay Form"Sometimes, the laws
Page 233 and 234:
— SCREENPLAY FORM— 217doubts an
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— SCREENPLAY FORM— 219telling t
Page 237 and 238:
— SCREENPLAY FORM— 221written r
Page 239 and 240:
— SCREENPLAY FORM— 223may be to
Page 241 and 242:
— SCREENPLAY FORM— 225SCREENPLA
Page 243 and 244:
— SCREENPLAY FORM— 227A CARAVAN
Page 245 and 246:
— SCREENPLAY FORM— 229TV ANNOUN
Page 247 and 248:
— SCREENPLAY FORM— 231BACK TO P
Page 249 and 250:
— SCREENPLAY FORM— 233STRUTwatc
Page 251 and 252:
— SCREENPLAY FORM— 235DIGITAL N
Page 253 and 254:
— SCREENPLAY FORM— 237Ambulance
Page 255 and 256:
— WRITING THE SCREENPLAY — 239T
Page 257 and 258:
— W R I T I N G THE SCREENPLAY—
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Page 261 and 262:
Page 263 and 264:
Page 265 and 266:
Page 267 and 268:
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— WRITING THE SCREENPLAY— 253pa
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AdoptationNARRATOR:"The first time
Page 275 and 276:
— ADAPTATION— 259filmmaker of T
Page 277 and 278:
— ADAPTATION— 261you'll referen
Page 279 and 280:
— ADAPTATION— 263patience, and
Page 281 and 282:
— ADAPTATION— 265any characters
Page 283 and 284:
— ADAPTATION— 267outlaws were t
Page 285 and 286:
— ADAPTATION— 269us from a hypo
Page 287 and 288:
— ADAPTATION— 271way he died th
Page 289 and 290:
— ADAPTATION— 273he's collected
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On CollaborationCol-lab-o-rate (ka
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— ON COLLABORATION— 277someone
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— ON COLLABORATION— 279with tha
Page 297 and 298:
— ON COLLABORATION— 281do it. O
Page 299 and 300:
— ON COLLABORATION— 283a scienc
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— ON COLLABORATION— 285it would
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— ON COLLABORATION— 287write th
Page 305 and 306:
After It's Written"Hollywood is the
Page 307 and 308:
— AFTER I T ' S WRITTEN — 291"w
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— AFTER I T ' S WRITTEN— 293you
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— AFTER I T ' S WRITTEN— 295$10
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— AFTER I T ' S WRITTEN — 297No
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— AFTER I T ' S WRITTEN— 299Giv
Page 317 and 318:
— AFTER I T ' S WRITTEN— 301as
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— AFTER I T ' S WRITTEN— 303all
Page 321 and 322:
A Personal Note"Hope is a good thin
Page 323 and 324:
— A PERSONAL NOTE— 307parisons
Page 325:
— A PERSONAL NOTE — 309Wear tha
Page 328 and 329:
312 — INDEX —Barry Lyndon, 186B
Page 330 and 331:
314 — INDEX —dramatic action (c
Page 332 and 333:
316 — INDEX —LaGravenese, Richa
Page 334 and 335:
318 — INDEX —scene (cont'd) dia
Page 336 and 337:
320 — INDEX —Unmarried Woman, A
show all

screenwriters."—TONY apparently emphasis

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