Prof. Juan G. Noblejas

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74 -- you may find that you never seem to raccount scenes or whole sections. -- you may discover that you need to know more about your story’s world. -- When you tell someone a story, character motivations and their absence become more obvious. A good producer or executive will often ask hard questions that you may not have thougth about. ~~ The worst waste of time for a screenwriter is writing a screenplay no one wants. ~~ There’s an old expression wich goes, “If everyone tells you you’re drunk, you’re drunk”. THE SHORT PITCH ~~ A short pitch clocks in at no more than ten minutes. ~~ Producers and executives take pitches because they want to know what your story is and anything you can do to help them follow the narrative is a good thing. Tell them what genre it’s in, and perhaps identify a couple of other (suscessful) films that it might resemble. ~~ Then go into a brief, visual description of your exciting hero, antagonist and central conflict. [It’s OK to refer to major stars whom you think might be perfect for the role]. ~~ Then outline the general course of the story, stopping to highlight two or three more of your most exciting scenes with a brief, visual description.
~~ When you pitch a story you should be passionate. It’s a performance. 75
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1 Università della Santa Croce Fac
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3 II. Allora, quale e’ nostro sco
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5 Questi lavori saranno commentati
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7 ScenA -- T-1 -- Poetica della sce
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9 ScenA -- T-1 -- Retorica della sc
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11 ScenA -- t-1 -- The Hero’s Jou
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13 The “Character Arc” (Chris V
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15 Università della Santa Croce Fa
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17 ~~ Contro: ~ I principianti cerc
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19 Romance / melodramma / platonic
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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 43 and 44: 43 Unlike real people, screen chara
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 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: 73 serve per dare forza alle immagi
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Prof. Juan G. Noblejas

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