That's hilarious! I'm now wondering what you're doing while you have it in the background. LOL (I wouldn't be able to concentrate doing most tasks) And please consider subscribing. Thank you. :) Cheers, Karel
Hi I am from Indonesia, two weeks ago i find this youtube channel and since that, i watch every video. Some of it, i reply again and again. It's really help me to develop my knowledge about structure including 8 sequences of my stories. Thanks a lot, love the way you describe and explain with sample from movie.
The Bond Movies (prior to Daniel Craig) famously were written in set pieces. The pre-credit sequence. Bond with a Girl scene. Scene with M and Q (gets new gadgets he will use later). Bond meets baddie. A spectacular chase or two, a fight or two, and finally Bond vs Villain, etc.
Here you go, Rick: ruclips.net/video/smugEmvPBgE/видео.html Thanks for pointing this out. I'll add a pop-up card to the video, so it's easier to find. ;)
What Hitchcock said about the 'plausibles' in his interview with Francois Truffaut is that when the question of implausibility is raised it's usually because the story is not moving along quickly enough, it's lost momentum. That's all. It doesn't have to make sense if it makes emotional sense. Case in point in the Truffaut on Hitchcock book? The crop duster assassination attempt on Thornhill. He even added that if things in movies were all logical, the movie would be predictable and boring. Speed and the mini series on streaming. Thrillers and crime dramas have a lot of red herrings in them. Okay. (These are best if they connect with the story instead of just being dead ends or distractions.) What I think happens is one of these is sold to a streaming company and they say, Great, but instead of 6 episodes give us 8, or 10. The padding and the red herrings bloat out the story, slow it down, threaten to derail it. What I do is, if I'm getting bored by episode three, I will skip to episode 5. I once saw a real pot boiler called Strange Interlude with Greer Garson, who was a huge star, but I didn't have instant recognition of her. One afternoon I turned on Turner Classics. A man was dictating a letter to his secretary. I'd seen him before, but she didn't register. Incredibly mundane. 'I'm getting married, going to take two weeks off for a honeymoon.... ' Ho hum. The secretary is emotionally destroyed. The entire scene is nothing except what happens on her face. I thought it was brilliant, I was hooked, and watched the rest of it, finally figuring out what was going on. It was a great movie for me because of where, completely by chance, I started watching. So what if you started a movie with searing empathy and a secret? Dear Frankie. I was expecting a kind of romance comedy. A woman has told her young son his father is a sailor on a supertanker that would never ever come to the River Clyde near Glasgow. She's been writing him letters from the imaginary dad. One day the supertanker enters the Clyde. Now she has to figure out what she's going to do. Cute premise. So rom com business... the mom, Emily Mortimer, goes to a phone booth and makes a phone call. Same thing as Greer Garson, something about what seems prosaic destroys her. Takes the rest of the movie to fully understand what's going on. Just because a movie exists doesn't mean we can't think of how it might be done differently, have a greater emotional impact. Sam Arkoff was shocked when Orson Welles said no one would back him to direct. "I've got a stack of scripts, read through. Anyone you want to make I'll back you." Welles said, "What's the worst one?" "A stinker about drug dealing on the border with Mexico." "I'll do that one." A Touch of Evil. Often what I see is a scene where the conflict isn't integral, it's just been added. 'A' character doesn't want to do something because it might help his ex-wife. Meh. He shouldn't want to do it for reasons directly connected to his personality (flaws) and because it's difficult, dangerous, impossible.... Better. But now make it a choice. A doesn't want to do it, B does, C is expecting A to do something else.... So A doesn't agree to do what B wants, A agrees to do something else. Instead of yes or no, or I'm still angry about the divorce; multiple implications, possibilities; increase complexities and emotional consequences are now possible.
Sorry, I missed your comment because it was 'held for moderation'.. (?) I love this take on 'what could have been'. Didn't know this about TOUCH OF EVIL, which is one of my favourite movies of all time. And now I want to see STRANGE INTERLUDE! Cheers, Karel
@@TheStoryDepartment Thanks. There are a million of these stories out there, some of them are even true. What they all offer is another way of looking at and thinking about things. My best guess is "as****tion attempt on Thornhill" I wonder if the Google bots had to figure out who Thornhill was?
Absolutely. It entirely depends on what sort of writer you are, what your strengths and weaknesses are, how you prefer to work, etc. Cheers, Karel PS: What sort of content on this channel would make you subscribe?
Hi Damon, Yes, tension usually occurs when we or the character want something but that is not easy to achieve. And in dramatic terminology, we call this tensionconflict or drama. Cheers, Karel
I hate it when the hero doesn’t pick up the sub machine gun his enemy had when he surprise attacked him! He could have used it to shoot the other villains after him! But no he keeps going! Movies and television get to way to predictable! To homogenized like it does on the can on the shelf and they just pulled it off the shelf and poured it in a pot. Serve in 15 minutes.
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This is amazing stuff! I have you on in the background (no offense) and it's like having the best conversation with a writer I could imagine.
That's hilarious! I'm now wondering what you're doing while you have it in the background. LOL
(I wouldn't be able to concentrate doing most tasks)
And please consider subscribing. Thank you. :)
Cheers,
Karel
i do that as well its good company plus great content.
Hi I am from Indonesia, two weeks ago i find this youtube channel and since that, i watch every video. Some of it, i reply again and again. It's really help me to develop my knowledge about structure including 8 sequences of my stories. Thanks a lot, love the way you describe and explain with sample from movie.
Great to hear, Yohanes! Thank you for your feedback. I really appreciate it. Cheers, Karel.
Hi..
@@HARIOMPRODUCTIONS09hi too
The Bond Movies (prior to Daniel Craig) famously were written in set pieces. The pre-credit sequence. Bond with a Girl scene. Scene with M and Q (gets new gadgets he will use later). Bond meets baddie. A spectacular chase or two, a fight or two, and finally Bond vs Villain, etc.
Can anyone post the link to the class on fractal structure he mentions about 1/3 of the way through...
Here you go, Rick: ruclips.net/video/smugEmvPBgE/видео.html
Thanks for pointing this out. I'll add a pop-up card to the video, so it's easier to find. ;)
@@TheStoryDepartment awesome thanks
What Hitchcock said about the 'plausibles' in his interview with Francois Truffaut is that when the question of implausibility is raised it's usually because the story is not moving along quickly enough, it's lost momentum. That's all. It doesn't have to make sense if it makes emotional sense. Case in point in the Truffaut on Hitchcock book? The crop duster assassination attempt on Thornhill.
He even added that if things in movies were all logical, the movie would be predictable and boring.
Speed and the mini series on streaming. Thrillers and crime dramas have a lot of red herrings in them. Okay. (These are best if they connect with the story instead of just being dead ends or distractions.) What I think happens is one of these is sold to a streaming company and they say, Great, but instead of 6 episodes give us 8, or 10. The padding and the red herrings bloat out the story, slow it down, threaten to derail it. What I do is, if I'm getting bored by episode three, I will skip to episode 5.
I once saw a real pot boiler called Strange Interlude with Greer Garson, who was a huge star, but I didn't have instant recognition of her. One afternoon I turned on Turner Classics. A man was dictating a letter to his secretary. I'd seen him before, but she didn't register. Incredibly mundane. 'I'm getting married, going to take two weeks off for a honeymoon.... ' Ho hum. The secretary is emotionally destroyed. The entire scene is nothing except what happens on her face. I thought it was brilliant, I was hooked, and watched the rest of it, finally figuring out what was going on. It was a great movie for me because of where, completely by chance, I started watching. So what if you started a movie with searing empathy and a secret?
Dear Frankie. I was expecting a kind of romance comedy. A woman has told her young son his father is a sailor on a supertanker that would never ever come to the River Clyde near Glasgow. She's been writing him letters from the imaginary dad. One day the supertanker enters the Clyde. Now she has to figure out what she's going to do. Cute premise. So rom com business... the mom, Emily Mortimer, goes to a phone booth and makes a phone call. Same thing as Greer Garson, something about what seems prosaic destroys her. Takes the rest of the movie to fully understand what's going on. Just because a movie exists doesn't mean we can't think of how it might be done differently, have a greater emotional impact.
Sam Arkoff was shocked when Orson Welles said no one would back him to direct. "I've got a stack of scripts, read through. Anyone you want to make I'll back you." Welles said, "What's the worst one?" "A stinker about drug dealing on the border with Mexico." "I'll do that one." A Touch of Evil.
Often what I see is a scene where the conflict isn't integral, it's just been added. 'A' character doesn't want to do something because it might help his ex-wife. Meh. He shouldn't want to do it for reasons directly connected to his personality (flaws) and because it's difficult, dangerous, impossible.... Better. But now make it a choice. A doesn't want to do it, B does, C is expecting A to do something else.... So A doesn't agree to do what B wants, A agrees to do something else. Instead of yes or no, or I'm still angry about the divorce; multiple implications, possibilities; increase complexities and emotional consequences are now possible.
Sorry, I missed your comment because it was 'held for moderation'.. (?)
I love this take on 'what could have been'.
Didn't know this about TOUCH OF EVIL, which is one of my favourite movies of all time.
And now I want to see STRANGE INTERLUDE!
Cheers,
Karel
@@TheStoryDepartment Thanks. There are a million of these stories out there, some of them are even true. What they all offer is another way of looking at and thinking about things.
My best guess is "as****tion attempt on Thornhill" I wonder if the Google bots had to figure out who Thornhill was?
It can be done alone . Multiple minds can work too , a writing partner to collaborate with , a team .
Absolutely. It entirely depends on what sort of writer you are, what your strengths and weaknesses are, how you prefer to work, etc.
Cheers,
Karel
PS: What sort of content on this channel would make you subscribe?
Thank u!!
You're welcome! Keep coming back.
And while you're here, please subscribe!
Cheers,
Karel
What do you mean by tension? Conflict?
Hi Damon,
Yes, tension usually occurs when we or the character want something but that is not easy to achieve.
And in dramatic terminology, we call this tensionconflict or drama.
Cheers,
Karel
@@TheStoryDepartment much appreciated!
I hate it when the hero doesn’t pick up the sub machine gun his enemy had when he surprise attacked him! He could have used it to shoot the other villains after him! But no he keeps going! Movies and television get to way to predictable! To homogenized like it does on the can on the shelf and they just pulled it off the shelf and poured it in a pot. Serve in 15 minutes.
So true!! WTF, right?
Thanks for being a subscriber. :)