Prof. Juan G. Noblejas

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42 Storia e Personaggi (Russin & Downs, “Screenplay”) Aristotle argued (2,300 years ago, in Poetics) that character is less important than story (myth). The reason: a dramatic story is an imitation of a course of action in life, not of any particular person. The drama interest us primarily by the situations, and only secondarily by the feelings of those therein involved. John H. Lawson: “a story may contain a duel in every scene, a pitched battle in every act, and the spectator be sound asleep, or be kept awake only by the noise”. Vs. Lajos Egri: “What would the reader think of us if we were to announce that we had come to the conclusion that honey is beneficial to mankind, but that the bee’s importance is secondary, and that the bee is therefore subsidiary to its product” This is more than just a “chicken-and-egg” argument. This is the heart of the storytelling process. --- Answer must be to create both story and character simultaneously. They are forever tied together and define one another in the process of their creation. --- A story is “characters in action”. --- Characters are “defined by actions they take”.
43 Unlike real people, screen characters are willing to force the issue, to engage in conflict, to take dramatic action --which is we pay to watch them. They are metaphors. They do what we only dream. Therefore, screen characters shouldn’t necessarily feel like real people, but rather they should feel real within the context of the world, the theme, the goals and the conflicts you’ve created for them. =======
Page 1 and 2: 1 Università della Santa Croce Fac
Page 3 and 4: 3 II. Allora, quale e’ nostro sco
Page 5 and 6: 5 Questi lavori saranno commentati
Page 7 and 8: 7 ScenA -- T-1 -- Poetica della sce
Page 9 and 10: 9 ScenA -- T-1 -- Retorica della sc
Page 11 and 12: 11 ScenA -- t-1 -- The Hero’s Jou
Page 13 and 14: 13 The “Character Arc” (Chris V
Page 15 and 16: 15 Università della Santa Croce Fa
Page 17 and 18: 17 ~~ Contro: ~ I principianti cerc
Page 19 and 20: 19 Romance / melodramma / platonic
Page 21 and 22: 21 THE ART OF ENTERTAINMENT is not
Page 23 and 24: 4 -- Riassunto e valutazione della
Page 25 and 26: 25 Una storia raccontata “drammat
Page 27 and 28: 27 (FADE IN -- Script page 1/ 135)
Page 29 and 30: 29 (2nd. Plot Point-- Script page 1
Page 31 and 32: 31 DAL PUNTO DI VISTA DELLO SCRITTO
Page 33 and 34: 33 A treatment is a full exploratio
Page 35 and 36: 35 Sceneggiatura Audiovisiva (S-4)
Page 37 and 38: 37 If you’re going to write about
Page 39 and 40: 39 phase, making sure that the char
Page 41: 41 Sceneggiatura Audiovisiva (S-5)
Page 45 and 46: 45 Se l’ostacolo appare come INSU
Page 47 and 48: 47 3 -- E’ il grado di coraggio c
Page 49 and 50: 49 “Prima Scaletta” (Cfr. “Di
Page 52 and 53: 52 Sceneggiatura Audiovisiva (S-6)
Page 54 and 55: 54 1 - The Individual: the person w
Page 56 and 57: 56 Character vs. Fate (Destiny) ~~
Page 58 and 59: 58 ~~>> Ogni volta quindi che si al
Page 60: 60 (2) when the scene takes place;
Page 63 and 64: 63 ~~ Il “tema” è la valutazio
Page 65 and 66: 65 “Frankenstein” is NOT “abo
Page 67 and 68: 67 ~~ 7. Inclinazione a manifestars
Page 69 and 70: 69 ~~Nello sviluppo in “pre-scene
Page 71 and 72: 71 Si possono anche scrivere i pens
Page 73 and 74: 73 serve per dare forza alle immagi
Page 75: ~~ When you pitch a story you shoul

Prof. Juan G. Noblejas

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