Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Connected features the personal stories of six New Yorkers woven together into one of the most intimate series ever. This groundbreaking show changes the nature of storytelling by giving each character a camera to document their lives. The result is a unique format revealing as different as everyone appears to be, we are all universally Connected.
Wake up to your world in 2 minutes.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
No matter what screen form you're writing for the fundamental role of a good script is to make the viewer worry.
Tags:How to Create a Good Movie Script with Motion 3,celtx,filmmaking,pre-production,screenwriting,scriptwriting
Grab video code:
Duncan Thompson: You know, you read a textbooks and this whole process is supposed to go, you are supposed to fume up the film right down the idea, right the premise. I know what the fact the premise is.
Male 1: It is really only one reason we watch movies. It is not entertainment. It is not information. It is not experience. We watch because we like to worry. It does not matter what Sean Rouge movie. It does not matter what style or from action, to drama, from horror, to comedy.
Notice this central concept differ for other cinematic for, for short films, animation, machinema or gaming. Whatever we are watching, we watched because we like to worry.
The more worried, the more involved your viewer is. So the fundamental job of film makers and screen writers is to make the audience worry as cleverly, as profoundly, as dynamically, as it cutely as possible.
The great misconception is screen writing is a good screen play begins with good dialogue. All the flowery language in the world would not make your audience worry. For instance, do not worry about words, what they worry about is characters, actions, situations, and ideas.
Dialogues are very effective vehicle but it is not the heart of the dramatic action.
Duncan: You have to kind of put softness throughout this trans where what you are writing you are actually transcribing what is in your head and what is in your head is a audio visual experience.
Male 1: The truth is a constructing effective dramas, not particularly complex.
Duncan: Dramas characters movie forward it the story I guess, that is not true. What is drama? I mean, drama means doing, you know, that it means to do. Os, drama is basically conflict in the present.
Tension is conflict in the future. Specifically, the kind of medley in crouching future.
Male 1: A character, not doing anything is hardly drama. To become dramatic, a character needs to needs to want something and then take action to get it.
This is dramatic action. But it is not itself able to make us worry. We as viewers are force into a state of worry in characters we are watching have obstacles, to prevent them from getting what it is they want.
So, the process of making a movie with dramatic action is really very simple. Give your characters wants, then device ways to prevent them getting what it is they want.
Duncan: You know what film to see, cannot just get there goals, you know. Otherwise, you know, you would paying me a huge amounts of money its been playing football against a team of power pelagic. So, a comatose people that could score a thousand goals in 90 minutes.
The point is, you know, how do I get the school a score as goals is me versus, you know, a major football team or something. So, its people, it is the kind of struggle that battle inventiveness of the writing. Your renting as the character actions.
And drama really own, drama gives you a legitimate opportunity to write well.
Male 1: Before sitting pen to paper, drawing up the character sheet is the best at forward towards a functional screen play. What is the goal of this character? What is the character’s plan to achieve that goal? And these questioning also exist beyond the characters as a scene level.
Here it each scene will possess it dynamic. Who is the protagonist? The driver of the drama. And who is the antagonist? The foil obstacle to the drama? What to eat plan to do to achieve those goals.
These questions are much more than just guides for the drama. They are the heart and guts of what we will make your drama worked.
Duncan: So, how do you put into your work? Well, I mean, without reducing the conflict, contrast, and contradiction.
Male 1: The bigger the want, the more focused and acute obstacle. The more engaged your viewer is and from there, knowing these fundamental elements. Well, the script will just about write to itself.
There is no such thing as good writing. There is only good while you are writing. And writing might begin with a screen play. That certainly does not end with one.
Duncan: It is what the understanding of constructing cinema. That is cinema is constructed on the page in the sheet and in a post production sound and so on, and so on. It does not stop, I think, in screen running is not a writing. It is not a writing discipline. You just happen to use writing tools.
A good screen writer is basically using, you know, visual audio, story telling tools and principles, and transcribing it into words. The key to put screen writing is that you are using words to calm your images, image moments that is it with each till the story.
The story is not told in the page and it is a huge mistake that many screeners does make because it is the stories being told in the page. Not in the minds of a reader. So, what is the process of writing, the processes is just writing. Once is that a process, the process is just right.
People say that is in writing is rewrite, you know. You rewrite, you rewrite bullshit, done. You write it, you burn it, you throw it away and you write it again.
Male 1: A screen play is not a bible. Is not a work of literature. It is not a work of art. It is an engineering blue print for production. No more, no less.
Duncan: For me, with this animation or if it is live action or if it is someone doing fact or wondering through waste land talking to themselves. It so irrelevant, that it is the principle in the cinema state is the same.
Male 1: It is very easy in running a screen play to get caught up in the words. The words in the page themselves. But what often is just important is the arrangement of the scenes in there order. What happens before the scene? And what comes after, has a profound impact on the scene itself.
A screen play is a process of revealing. As each scene vales new information to the viewer. The artistry of the screen play is therefore, held that information is metered out and managed.
Duncan: The cinema is where you stage the work in the audiences is mind. Instead of money you are producing the audience is the engagement that is the key. What if I am talking shit or not?
Male 1: More than anything, the process of cinematic creation is not some magical can trip, plot out into the air in the moment of inspiration. The process of developing good screen play is the process of beating the script into submission.
Male 1: Once upon a time I want to be an actor. The fuck I was thinking.