Cheap Movie Tricks
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Rickey Bird. Cheap Movie Tricks
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Introduction to Short Films
Big Tricks, Small Packages
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Let’s take this further. Riveting stories, the ones that make you turn pages or keep Netflix streaming, have the uncanny ability to really get into the main character’s head. This is easier in prose. You can write what a character is thinking, how Jennifer wants to toss her guts because she’s terrified of what the judge might say if she’s caught not just holding up a liquor store but sleeping with the judge’s son, who happens to be a cop. Now dive further, go past specific character thoughts into character feelings. You can describe all sorts of emotions. Make them desperate. Painful. Jarring. Stomach churning. Tortuous. Good job.
In film, feelings and thoughts have to be conveyed through solid acting (and voiceover and other devices, too). We want to feel when we write the story because we want our characters to feel. We want to go on an emotional rollercoaster because we all want an exhilarating emotional experience. You don’t always have to add a meteor or a Godzilla. But remember, exhilarating emotional experiences don’t come from stories that regurgitate the most humdrum parts of our lives. They come from when we up the stakes and the emotional pain.
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