Читать книгу Writing the Comedy Blockbuster - Keith Giglio - Страница 5
ОглавлениеCONTENTS
FOREPLAY, OR HOW TINA FEY CAN KICK BRUCE WILLIS’ ASS
PART ONE: HOW TO USE THIS BOOK
A Criminally Brief Histoory of Film Comedy
Exercise: Beg, Steal, or Borrow
A.K.A. THE IMPORTANCE OF BEING INAPPROPRIATE A.K.A. THE BLUES BROTHERS ARE NOT ROLE MODELS
The Comedic Logline A.K.A. The Pitch
Uniquely Familiar
Exercise: Twenty Uniquely Familiar Ideas
The Fill-in-the Blanks Elevator Pitch
Exercise: The Poster
PART TWO: PLOT VS. CHARACTER: WHO WILL WIN?
COMEDIC CHARACTERS
A.K.A. A FOOL’S JOURNEY A.K.A. I KNOW A GUY JUST LIKE THAT
The Importance of Character
A FOOL’S JOURNEY
Take Your Silliness Seriously
Characters Change
The Rock and Roll School of Screenwriting
Plot vs. Character
BUILDING THE COMIC CHARACTER
Exercise: The Comedic Character Worksheet
WHAT I REALLY WANT TO DO IS DIRECT
Comic Vision
INAPPROPRIATE BEHAVIOR
INAPPROPRIATE DIALOGUE
UNITY OF OPPOSITES
ROWING A SINKING BOAT
Funny People
Exercise: Character Work
HILARITY AND HEART
A.K.A. IT’S ALL ABOUT THE WOLF PACK
The “Classic” and Still Modern Three-Act Structure
Exercise: Question Everything
The Comedic Sequence Approach
Scene Study
Putting Scenes to Work in Events
Exercise: Funny Scenes
The Secret Ingredients of Comedic Scenes
PART THREE: THE COMEDIC ROADMAP – THE EIGHT COMIC SEQUENCES
COMIC SEQUENCE (A)
A.K.A. THE COMEDIC WORLD A.K.A. WELL BEGUN IS HALF DONE
Setting Up the Comedic World
Exercise: Comedy Calisthenics
What is the Tone of Your Story?
The Prestory
Open With a Hook — First Impressions
Defining Action
Status Quo—Something’s Missing
Exposition
Point of Attack — Opportunity Knocks
Exercise: Rewrite Your Favorite Movie
COMIC SEQUENCE (B)
SETTING UP THE INAPPROPRIATE GOAL A.K.A. “YOU’RE GOING TO DO WHAT?” OR WHY CRASHING A WEDDING IS A GOOD IDEA
What the Hell Happened to Me?
The Buddy
Meet the Bad Guy A.K.A. The Dick
The Dramatic Question — Oh, That’s What it’s About
End of the First Act — Protagonist and Objective
Exercise: Change the Point of View
ACT TWO!
A.K.A. WHERE SCRIPTS GO TO DIE
COMIC SEQUENCE (C)
THE MAD, MAD, MAD, MAD WORLD A.K.A.
SOMETIMES GIRLS THROW UP ON YOU
OH YES, OH NO!
START SMALL AND GO BIG
THE PROMISE OF THE PREMISE
The Main Events of Sequence C
THE MAD, MAD, MAD, MAD WORLD
Establish the Initial Goal
Learning New Rules / Taking on Appearances
Friends and Enemies
Subplots
Subplots and Themes
First Attempt Fails — Maybe
Exercise in Conflict: The Agitator
COMIC SEQUENCE (D)
IT JUST KEEPS GETTING WORSE A.K.A. HOW MUCH PAIN CAN BEN STILLER TAKE?
FIVE EVENTS TO THE MIDPOINT
Anticipation and Reaction Scenes
Reaction Scenes
Ramping Up
Backward from the Midpoint
The Midpoint Hints at the Ending
Importance of Location
COMIC SEQUENCE (E)
LOVE IN THE AIR A.K.A. WHY ANDY CHOOSES LOVE OVER SEX
Reaction to the Midpoint
Major Character Shift
Develop the Theme
Upping the Stakes
The Jolt
Comic Exercise: The Soundtrack
COMIC SEQUENCE (F)
WHAT WAS I THINKING? A.K.A. YES, I’M A LIAR BUT
A Final Push
Good Times Never Last
Expose the Character’s Weakness
The Calm Before the Storm
End of Act Two: Bad Things Happen
OTHER WAYS TO END ACT TWO
ACT THREE
COMIC SEQUENCE (G)
TIME TO GROW UP A.K.A. WHY ARE ASHTON AND NATALIE SO SAD EVEN THOUGH THEY SAID NO STRINGS ATTACHED?
SO WHAT IS ACT THREE?
WHAT ELSE SHOULD HAPPEN IN MY ACT THREE?
Singing the Blues
Who Am I?
Help from the Mentor
The Last Great Decision
COMIC SEQUENCE (H)
THE NEW ME A.K.A. WHY BEN STILLER, JIM CARREY, HUGH GRANT, NATALIE PORTMAN ARE RUNNING AT THE END OF THE MOVIE
The Battle
Convergence
Sacrifice
Resurrection
Epiphany
The Final Race
The New Me
TAKE A BREATH AT THE END
A WORD ABOUT SATISFYING ENDINGS
WRITING THE SCREENPLAY
Writing the Screenplay
TURNING THE SCRIPTMENT INTO THE SCRIPT
WHY DO SCREENPLAYS FAIL?
THE WRITING BEGINS
Some Words about Dialogue
TRUST THE WORK YOU HAVE DONE
HOW DO I KNOW WHEN IT’S DONE?
The Business of Writing
FUNNY IS MONEY
