Script Writing Basics & Tips : How To Write A Movie Script : Screenwriting For Beginners | Jim Bruce | Skillshare

Script Writing Basics & Tips : How To Write A Movie Script : Screenwriting For Beginners

Jim Bruce, SEO Expert, Book Writing Coach, Marketer

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
18 Lessons (2h 1m)
    • 1. Screenwriting - Course Introduction

      5:08
    • 2. Screenwriting : Story Essentials of A Movie Script

      5:13
    • 3. Screenwriting : The Story Arc

      9:33
    • 4. Screenplay video 4 characters and setup x264

      8:36
    • 5. Screenwriting : Characters For Your Screenplay

      7:34
    • 6. Screenwriting - Scriptwriting Pro Tips

      6:41
    • 7. Screenwriting : Movie Script Analysis - Die Hard

      11:50
    • 8. Screenwriting : Write A Screenplay With Amazon Storywriter

      6:44
    • 9. Screenwriting : Submitting Your Movie Script

      3:27
    • 10. Script Planning

      7:10
    • 11. Movie Script Planning More About The Pitch Letter

      6:49
    • 12. Beats Page 1 to 55

      7:18
    • 13. Beats Page 55 to 110

      4:54
    • 14. The Planning Board

      8:36
    • 15. Introduction To The Planning Software

      6:55
    • 16. Using The Planning Software

      7:14
    • 17. Looper Script Analysis

      5:39
    • 18. Conclusion

      2:02
27 students are watching this class

About This Class

Scriptwriting Tips For Beginners : How To Write A Movie Script : How To Write A Screenplay

For beginners, the idea of screenwriting seems to be way beyond anything that we're capable of, but like many things in life that we know very little about, the opposite is true!

There's a saying in Hollywood that goes something like this: "Nobody knows anything and anybody can do anything" , which just about opens it up for everyone! To succeed at movie screenwriting you need these basic essentials:

  • How to develop a great idea and write a screenplay gem
  • How to create an appealing story from a great idea
  • Understand what movie producers are looking for in a screenplay
  • How to structure a  screenplay so that it hooks the reader
  • Beginners should know how to present the results of their screenplay in industry format
  • How to write the pitch for your screenplay
  • Where to pitch your screenplay

This course shows you how to write a screenplay in detail and covers all the points above. Screenplay writing is a craft - great news for us, beginners and all, because it means that anyone can learn it! all you need is this course 'How To Write A Screenplay' and you're half-way there. Information is the key to your success.

In another course 'How To Write Novels' I describe the structure behind 99% of modern novels. This same structure also applies to the movies, with some subtle differences. One of the essential tools for any budding screenplay writer is script analysis, and we pull apart the movie Die Hard to see what makes it tick - exactly what makes a movie like this so successful? This is how it works - analyze something that's successful and then apply the principles to your own work. It's true that the best way to learn how to write a screenplay is by doing it!

Finally, I cover the best way to pitch your idea to producers or agents to get the best results. The industry appetite for new material is surging upwards over the last couple of years and studios need new writers. Screenwriting for beginners isn't such a difficult thing - if you're organized and understand the industry requirements.

You can do it - I'll show you how! Sign Up Now!

# moviescript #creativewriting #filmscoring #screenwriting #howtowriteascreenplay #howtowriteamoviescript

Transcripts

1. Screenwriting - Course Introduction: it's important to remember that the primary goal, the main purpose off any movie, is to entertain an audience. It's a cardinal sin in the movie world, the ball people. For the script writer, this means that every character and every situation we right needs to be interesting and intriguing. Our creative juices begin to flow after we've had the idea on the craft of developing this idea into a script, and then, eventually into a movie is the focus of this course. In this lecture, I'll cover the course. Content on some general broad concepts. The first section deals with the creative aspects of script writing, sort of john theme characters, plant and structure. In the second part, we cover the practical aspects of script format on the conventions of scripts, directions and script analysis. Before we move on, I'm going to just go through some general concepts about the craft to script writing in the form of bullet points. It would be beneficial if you downloaded these bullet points from a resource area for this lecture and kept them by a workplace. The traditional ideas off a story arc has applied to novel writing do apply to moviemaking even more so. The vast majority of great movies are character driven and not plot driven. Audience are interested in the characters how they react to challenges, how they change over time throughout the story. A plot drill movie doesn't take this into account. Of course, exceptions do prove the rule with characters like James Bond and Indiana Jones. But even Indiana Jones changed a little in the last movie when his father said, Let it go in the and he realized that there were things more important than chalices or archaeological artifacts. The writer needs to create a hero that the audience can't help but follow. This character needs to have a strong character arc. We'll expand on this later. But the character Arc describes how the character undergoes internal changes to his character. The hero should suffer through challenges and overcome them more and more with increasing intensity towards the climax of the movie, his beliefs and physical insurance, or all challenged to the utmost. It's a great idea for a new script writer to read many, many movie scripts, particularly the ones that are very successful, read through the scripts, Taking knows on reverse engineer what makes on appealing movie The concept of show Don't tell is true. All mediums relating a story, but the script writing it's much more important than if you're writing a novel. The script writer relates the back story, which is the characters history to dialogue and action. You could also use action to show the characters interior landscape, how they're feeling on what conflicts they have inside. Bear in mind, the action should take around 80% of the time off your script. Try and keep dialogue punchy to a minimum and have purpose. The dialogue should have purpose and push the plot forward. Keep the scene short between 2 to 3 minutes. Is ideal there the scene length, the kind of action on the settings. This gives a varied pace on a rhythm toe. The overall story. Always use standard script formats on directions. Don't try and invent your own. It will not be appreciated. Keep your script Flint from 100 to 120 pages. 100 words on a movie script is equal to about one minute of real time. In the next lecture, I'm going to talk about how to tell the story on discussed the concepts of theme on conflict, you learn about the important elements necessary to create a compelling storyline for your movie script. 2. Screenwriting : Story Essentials of A Movie Script: We're all fascinated by the experiences and exploits of other people, particularly if we can identify with them, and we want to know what happens to them even more so if the challenges they face are dangerous or exciting, We want to know how they react to events on how they overcome challenges. This phenomenon is at the heart of storytelling. On is one of the essential ingredients of a great film. The script writers job is to take this idea and sands for into a movie script format. The process is very similar to that used when writing a novel. The main character experiences a series of challenging events, each more serious than the last. This series of events is known as the plot. How the character reacts to and overcomes these events We call the story the protagonist or the hero changes profoundly inside as a result of facing and overcoming opposing challenges . This is known as the character arc on. The idea is central to 95% of all successful modern movies. The heroes most severe challenges should come from the villain all the antagonist he, she or it could be misguided, mindless, ignorant or just plain evil. But the antagonised goal is directly opposite to the heroes. The antagonist could be human, a man or a woman or an animal or an idea, or even just on effect of nature. Support characters can be either of foil or almost an equal partner with the hero. Equal partners should be physically different and have different personality traits and skills. So a successful movie revealed internal changes that the main character goes through as a result of overcoming severe challenges. The end of the movie should bring a deeper understanding to the audience is the hidden message that the writer wants to convey. This essential element is part of the craft of storytelling. Storytelling is how we get the message across to the audience. It follows a certain theme within a genre. The genre is the classifications off the movie. Placing a movie in a category helps define a set of expectations in the minds of the audience about what they're about to see. For example, in the genre of science fiction, people generally expect to see futuristic scenes, perhaps with robots, space battles on aliens. Because the genre is very broad, each can be split into sub genre and in some cases, so sub genres. The theme is the underlying meaning and lesson of the story. Without the theme running through and uniting the story parts, the movie would become little more than a serious of events. The theme provides unity on links all the parts together. It's the message that the writer wants to convey to the audience examples of common themes our friendship, fate, destiny, brotherhood, freedom, innocents, justice and resurrection. The main characters previous life and history is revealed by use of dialogue. In the first few minutes of the movie, Dialogue in action is used because telling the audience would be boring. It would also slow the movie down at a very critical point. The beginning. The beginning should grab the audience's attention, and it's best if the start is based in some kind of action. The back history can be partly revealed by dialogue during that action on more fully as the first quarter of the movie develops. In the next lecture, you learn how the classic story arc is adapted to script writing and how to structure a successful movies storyline 3. Screenwriting : The Story Arc: the classic story arc shows the way in which a writer can engage the reader's attention, whether it be a film or a novel or any other work of fiction. The story arc follows a basic three act structure first proposed by Aristotle after the beginning, in which the stage is set for the plot to develop the upward slope indicates increasing tension towards the climax. After the climax, detention falls, the situation normalizes and questions are answered for the audience. In practice, however, the process is not as simple as shown here. The rising action phase of the Ark should have several peaks of tension to represent challenges. Each challenge is greater than the last one, until the challenge representing the climax seems impossible to overcome. The hero is definitely finished or is he? Modern? Script writers have taken the basic idea of Aristotle, and they've adapted it slightly on making it a little more complicated, the Celebrator script writer said. Field produces a three act structure in which introduces pivotal points that change the direction of the overall movie story. Act one is called the Set up Act to Confrontation aan Act three. The resolution in Act one which represents 25% off the whole story. All the main characters should be identified. The audience is made aware of the heroes. Goal supporting characters are introduced on the set up is complete. Act One ends with plot 10.1, which is an incident that turns a plot to a new direction. The hero decides to pursue his goal and take further action to achieve it. This goal opposes that of the villain. Pinch 0.1 is tension introduced by an obstacle that also reveals and hints at the struggle ahead with the villain act to account for 50% of the movie script. Here, the hero sees on Overcomes Challenge After Challenge has described in the classic story OG . The midpoint is the first major clash with a villain. The hero is forced to enter the villains world to follow his quest. Intense conflict develops between them. Pins point to helps to escalate the tension, often by presenting a challenge from a different direction. For example, in the movie Die Hard, the FBI mistake John McClane for a terrorist and they tried to shoot him. Plot point to is a time of maximum challenge, called the Climax in the classic story arc. The hero is physically, mentally and morally exhausted. The ending is generally the last 10 pages of the script. The Heroes. He's a deeper meaning to his quest. He summons up hidden reserves of courage and the overcomes the villain. Some script writers have gone even further than a sit field, and they've produced complex structure arrangements intended to help the script writer. However, for our purposes, the basic Syd Field idea of a three act structure works very well. It gives us ALS, the elements we could possibly need to create our movie. One more movie script structure to take a look out is the one produced by Michael Hogue. It's a six stage structure, but as you can see, it's very, very similar to the three act structure proposed by Aristotle on the one proposed by said Field. We still have the three acts. We have the 50% midpoint, but it's broken down into further smaller percentages, so it's a little more precise than Syd Field's paradigm. The set up is exactly the same in Act one, and there's a turning point of the 10% point an opportunity, an opportunity to do something, something happens. There's an incident which makes the hero react. He entered a new situation, and at the 25% point there's a turning point, which is similar to the plot point of Syd Field's paradigm. Now this represents quite a a big change of plans, and throughout the 50% that represents Act to, he starts to enter into the conflict with the villain. It is break back to up into two parts in the second stage, which he called a stage for. There are complications. Things get worse. The stakes are much higher on the struggle between the hero and the villain becomes very personal and very intense. At the 75% mark, there's a major turning point, a major setback. This something happens, and it's looking really bad for the hero. The climax of the structure, which is turning point number five on the final push way, overcomes a villain acts in the last 10% of the structure. This paradigm is interesting because above the structure we can see that there's some notes relate into the heroes in a journey. This is the change that he goes through internally and is normally not shown in the structure of ah, of a movie script. The modern movie structure is surprisingly similar to a formula produced in the 19 thirties by a pulp fiction author named Lester Dent. Lester Dent specified for each 1500 words off a 6000 word story. Exactly what should happen, then specifies exactly what should happen to the hero every 1500 words. And this is the kind of analysis that the script writer needs to apply to his own work. You can download the complete formula in the resources section of this lecture. In the 1st 1500 words indicates that all the main characters should be introduced into the action, just like recommended in a moving the hero dives into the quest on experience is a challenge. Near the end of the passage, he also specifies a plot twist which could reflect Syd Field's Pinch point or Plot point. The 2nd 1500 words bring more challenges to the hero leading to a physical conflict. This represents the rising action part of the classic story arc. The 3rd 1500 words see the hero making some progress in his quest, facing under the physical conflict and ending it in a major setback. Finally, the hero is almost defeated but wins by summoning up new reserves of skill, strength or intelligence. Lester Dent pays more attention to plot twists than the heroes in a journey, which is called the character arc. But apart from that, the formula works quite well as a template for an exciting story of any kind. The idea of increasing tension through conflict overcoming challenges is at the core of his formula and is still the way that we write novels and move is to this day. In the next lecture, we're going to start writing the script. The subject is characters and set up. 4. Screenplay video 4 characters and setup x264: you probably have several ideas for a movie, and that's why you're here now. Taking this course, it's time to take one of these ideas your best idea onto flesh it out. We need to know more about it on the people involved. Before we start to committed to a script before beginning a script, the writer needs to know as much as possible about his characters. He needs to know what makes them tick. They need to live and breathe for him before they can live and breathe for the audience. To do this, we need to ask ourselves many questions about the set up The conflict and the resolution of our movie asks these questions about your hero. Who is he or she in this simple question. We should include as many aspects of the personality, just as if he or she were a living person, because for the audience they will be. What does your hero want? How badly do they want it and why do they want it? What do they have to do to get it? Do they have the skills and the courage to get it? And what do they need to learn before they have a chance of getting it. This is important relates to the characters internal scenery, as described in the classic character OG in the central 50% of the movie, the conflict phase. We need to ask ourselves who is the villain? Let's describe him. What does the villain want? What is his goal? How does the villain oppose the hero? His goal should oppose the goal of the main character. We need to identify the heroes. Weaknesses. How does the villain used these weaknesses to exploit the character and try to defeat him? How does the conflict on the tension increase towards the climax as it should? And lastly, how does a hero overcome his major weakness and change himself in orderto win on defeat? The villain in the resolution phase, which includes the climax? What makes the hero keep battling on setback after setback, defeat after defeat? He just carries on when and how does a hero realize he has to learn something an important lesson and change internally before he Conoco overcome the final challenge? What are the moral choices he has to make to succeed in the quest? Now you have more concrete idea of the points we just covered. We can start to describe the movie script in more detail. In the full of beats, a beat is a sequence of scenes, each lasting between 2 to 3 minutes. The description of a movie script in terms of beats might look like this started of Beat. One introduced the main characters, but focus on the hero on the setting, of course. Specify who and where they are. Use the initial dialogue on action to reveal the partial backstory. Show his links with any associates because support characters are very important for a movie script. One does a hero want, he reveals or discovers very close to the start of the movie and need or a desire. Or he has a problem that needs to be solved. Make the audience aware of what the hero needs to learn all how to change something in himself to get his goal bear in mind. He may not even know this himself, yet he becomes confused and moves in wrong directions. The hero starts to act to reach his goal, but it hasn't learned an important lesson yet. His approach is wrong. He meets setbacks on, becomes confused and dispirited number five. The villain, of course, have a goal, which is opposite to the heroes. So he opposes him more and more intensely as a script develops. This is a point, a major setback for the hero. He still hasn't learned his lesson. The action intensifies as the villain opposes. Even more intensely, the hero's friends desert him. At this point on, Things are really bad have beat seven. The rising conflict reaches a climax. The hero is almost spent and has no hope of reaching his goal. Final defeat is staring him in the face. The hero someone's all of his resources for a final, all out attempt. The hero wins in the end because he realizes there's more to life. Then, he thought. In the last two lectures, I talked quite extensively about the basic structure, the formula for a story that could be applied to a movie script on that will be followed and will be found appealing by an audience. The audience will identify with the characters. They will see the plot events as important to the character's development on they want to give watching to see what happens. The tension on the conflict mount toward the climax and eventually the resolution towards the end of the film. Now this formula is well tested and should be used, particularly if you're a new writer now. Eventually, you will want your script to be read by professional. In your heart of hearts. You want your script to be read and, if possible, made into a movie. When a professional reader takes look at your script, he'll be on the lookout for two things. First of all, a creative aspect and, secondly, the script format. In the set up phase of the script, which is the 1st 10 to 20 pages he will find, all he needs to know about whether to carry on will reject it. In those first pages, the reader will be checking the elements included in the set of phase of your story. If the elements of main character introduction, setting and back history introduced by dialogue are not there, you will probably not bother to read the rest of the script. Likewise, if the script format on directions are not to industry standard, he probably will put the script down and forget it in the next lecture. We're going to look at the subject of script format on directions, first of all, in a broad sense, and then we look at more detailed explanations of how you need to describe your script. 5. Screenwriting : Characters For Your Screenplay: Although the ideas of story arcs and character arcs apply both to novels and movies, there is a big difference. One big difference between the two. When an author finishes a novel after rewriting on anything, it is a finished product. It can be read when the script writer finishes a script. It is just the first stage in a long process. It is not a finished product, but simply a plan. It's a blueprint for other people to follow. A script should contain all the instructions needed by a production team to make the movie . The instructions will be read by Production Team, comprising off the producer director, the actors, the Lighting Team, effects team and many more. Around 40 professionals in all are needed to get a movie together, plus the hundreds of associates that they direct. The script has a special layout, with each instruction indented two different deaths so that all members of the production team confined what they need quickly and easily. We're not going to cover the exact detail of the in dense in this course because there are so many automatic tools that exist on the Internet that it's simply not necessary to create your script from scratch. The format is an industry standard and really must be followed. The categories of instructions are as follows. A scene heading, which is also known as a slugline, tells us where the scene takes place if it's inside or outside on the approximate time of day. Action describes what is happening in a visual way. We show but don't tell. Describe behavior but not internal emotions or thoughts. Everything is expressed in action. Use the active voice rather than the passive. As you might think. Character name indicates Who is talking. Don't use names of the same for two different characters or even very similar. Be consistent. Use the same name throughout the script. If you have a Mr Frank Burns, don't use Mr Burns one time or Frank Burns another or simply frank for the next leave. Characters could always be called by their first names. Dialogue is every word that is heard on the screen. If the speaker is seen or not, extensions to dialogue can be V o os. The O sensible voice over on OS is offscreen parenthetical. Zell's are directions to actors. These carry indications, some indication of how the words should be read. The shot direction indicates that the focus shifts to a person or a thing within the same scene. Examples all close on the snake or back to scene. After the focus is ended. Examples of transitions are cooked to pattern to fade out. Wipe too on dissolve to there are many more, but these air used very sparingly, for example, fade in and fade out are used at the beginning of the movie, and at the end, the cooked may be used to emphasize within the scene. But the rest of the transitions are almost never used. Using, dissolve or cut at the end of a scene is not necessary because it's obvious when you seen starts on before we move on to more precise definitions with some examples. Here are a few tips to help you as you start to write your first script Fay Vin and fade out only used at the beginning and the end of the movie. If we want to change location, say from inside this library to the garden, then we use a dissolve or a cut to avoid confusion. Remember that a scene heading is also called a slugline a scene, having appears whenever there's a change in time or in location. It contains certain information three pieces of information to be precise. Whether the scene is inside, in which case it will be marked internal I M. T. Or external outside. They will contain the information e x t with a period behind it. The location would also be specified, for example, in the car park or in the highs of building on the time of day, the approximate time of day it may just read day night, morning evening. In general, a movie script is between 101 120 pages, and there's a reason for this because of modern movie tends to be between 1.5 and two hours long. In a movie script, one page equals one minute of real time action, so a script of 120 pages will equal a two hour film. There's a general rule. Don't start a scene with dialogue. Introduce an actor with movement and action before he speaks. So in this lecture, I gave her the broad ideas of the scene, heading on the various instructions that you'll find on a script. In the next lecture, we're going to delve a little bit deeper into the detail and look at some variations that can help the script to come alive. 6. Screenwriting - Scriptwriting Pro Tips: in this lecture, I'm going to describe some professional tips for your script writing First of all, the gin, your script with the words fade in. After this, you can write the first scene heading or a description scene headings begin with I N T or txt to the note. Internal or external. These are always written in capitals and followed by a full stop or a period. Next comes a location, for example, car park or the CEO Oh's office of the scene. Heading ends with the words day or night, if absolutely necessary. You could add dawn or dusk, but avoid this if you can. If you use these terms, it means that the production team has to catch good conditions at the right time of day. At a certain location. It adds to production costs, and it causes delays. You can show the passage of time like this and action like this or indicate a special circumstance like this. If a scene takes place in multiple locations, for example, different officers in the same building, it isn't necessary to create a scene heading for each one. Just write a subheading to indicate the location and do not include day or night. Keep descriptions down to three or four lines of text. I had only relevant information. And don't try to describe every detail about the setting. The reader will imagine the details, and it's also the director's job to provide them right only what you see on the screen don't write someone. Thoughts. Any emotion should be given a physical manifestation, which can be described or portrayed. Being action by the actor. When you describe the character when he appears for the first time, capitalize his name. Describe him briefly, preferably through action on dialogue. Main characters have a detailed description, while minor characters maybe just have one or two lines to describe them. Standard conventions do exist for quite a few camera directions, but you know the cameramen, you're right in the script, so don't use them. One exception might be close or close up, which may be necessary to increase tension and drama. Dialogue is possibly the most difficult aspect of writing a movie script. It creates characters, generates emotion, and it generally moves the story along. Don't use quotes, bold letters or italics spell out the numbers so that three is written. His three T H R E. Keep the dialogue concise and punchy. Avoid big blocks of words, particularly if many of them are unnecessary. Try not to write cliches. Replace them with your own words. Make something unique so that your writing stands out. Give each character a dialogue style that different shakes them from each other. The reader should almost no who is speaking by the way that he's speaking. Dialogue should seem natural in daily life. Observe how people speak and copy it, but don't include the phrases that don't move the story or the plot forward. To get a good handle on how to ride dialogue, read many successful scripts as many as you can. In this way you learn how the professional structure their character's dialogue to the best effect. When someone speaks and they're not in the scene, it's called a voice over and in brackets or parentheses. V O is written next to the character's name. If a character is in a scene but can't be seen, their off screen and then parenthesis is O. S is written by the name. This is often used if a person is speaking from another room when you have two people speaking on the telephone I the show just one character on screen and use OS for the other , which means offscreen, or use a direction called Inter Cut. Each character is therefore shown each time they speak. The camera cuts back and forth between them and Leslie. If there are important sounds that you want to emphasize that in your descriptions capitalized the word. 7. Screenwriting : Movie Script Analysis - Die Hard: even if action movies are not your thing and you don't particularly want to write that kind of script, it's widely recognized that the script for Die Hard with Bruce Willis is probably one of the near perfect scripts in existence. So for this lecture, we're going to analyze this film and teach you how to reverse engineer a movie or a product to find out why it's so good. This method of reverse engineering a movie is very powerful. It shows you how each part is constructed so that it's appealing for the audience and they want to watch it right until the very end. We discover the very elements that you need to incorporate into your own script writing. If you're not familiar with the movie, die hard, let's take a minute to look at the preview, the theatrical trailer. We thank you one and all and wish you a Merry Christmas and a Happy New Year. It's Christmas Eve in L. A. But a team of terrorists want money kind of terrorists who century with terrorists have their own in the holiday plans, and I'm telling you just to cope, Okay, way, do it the hard way but the one thing they didn't plan on it was a New York cop, John McClane. I got invited to the Christmas party by mistake. Do you really think you have a chance against us, Mr Cowboy? I have already killed one. This channel is reserved for emergency calls only. Really? In America believe New Jersey counts. What is he doing? He's an easy guide, a light and a hard man to kill. Die hard from the trailer and you can see it the general style of the movie. If you're not familiar with the story, it is quite old after all. Let me take it with the basic story. First of all, the main characters, the hero is John McClane. He's a New York cop about 40 years old. His main characteristic is personality. Trait is that he's into his job and his selfish the villain. The antagonised who's against him is a man called Hans Gruber. Holly is John's wife. They're separated and live in different cities. The external goal of the hero of John McClane is to save Holly on the hostages from Hans Gruber. His internal goal. His character, OG, is to become on selfish to support his wife's career in a different city. It doesn't realize how important his wife is to him until he finds that she's in danger. He comes to understand throughout the film that compromise is more important than his own selfish needs. The story unfolds as follows. In fact, one McLean comes to the Nakatomi building at the Christmas party MCA. Toby Incorporated is where his wife is estranged wife, his head of advertising. Soon afterwards, everyone is taken hostage by Gruber and his men. All his boss is shot on. McLean escapes unseen toe, upper floor of the building, which is undergoing construction. He tries to alert the authorities by activating the building fire alarm. In the second act before the midpoint, Gruber cancels the fire call. Meanwhile, one of his men find McLean McLean kills him. The cop now has a walkie talkie. Andi alerts the authorities. Visiting cop car is just about to leave the area. When McLane throws a dead body of the terrorist out of the window, the courts lands on top of the cops car reverses quickly out of gunfire range and calls for backup. I'm going to stop right there because to analyze the whole movie is way beyond the scope of this course. Suffice to say that John MacLean wins in the end, and he's reattached to his wife, and everyone lives happily ever after. I wanted to give you a flavor the film, and now we're going to take a look at how it fits into the structure of the three act paradigm proposed by sit field. After this, we're going to take a look at Act one on the way that the set up part of the movie is brilliantly planned. When you come to analyze the movie, take the three act structure as proposed by Citi Field and mark down where certain events appear. Remember from the classic story arc that we see rising action after the exposition or the set of phase, which is Act one throughout act to mostly through AC three. We're moving. The conflict is rising towards a climax, and after this we have falling action towards the end. In your analysis, mark the events, the conflicts, particularly in Act two, as they appear in the script pages and mark the pages down on the paradigm. In this way, you'll start to see how the events increase in the intensity towards the climax. Pay particular attention to Act one. This is where everything is set up, the things that are going to appear in the rest of the movie and the situations on the weaknesses of the hero all going to pay. Exposed throughout the movie, a series of conflict events is simply not enough to create an exciting movie. The crafting of a movie is much small subtle than that. For example, a hero with flaws and weaknesses with some life lesson to learn is essential. Not only does the hero have to overcome physical challenges but also face his deepest fears . His internal landscape changes so that he learns a valuable lesson towards the end of the movie. The heroes, failings and weaknesses are revealed in Act one, the set up, which is also the place where other devices are cleverly introduced to the audience. For me, the genius of this script is the way the foundations are set in the first pages and then used it. The challenges that are revealed later on in the movie. Here are a few examples from Act One I call the 1st 1 set up one McClane is in an airplane . It grips the arms off his seats as the plane comes into land, his neighbor notices on comments. McLean explains that he's afraid of heights the audience now knows, and the claim is scared of heights. The payoff to this set up comes later, when McLean has to leap from the top of a tall building and from the same scene set up to comes. When the fellow passenger notices McClain's fear and tension, he gives him a remedy by removing his shoes on, balling up his toes on a carpet. He'll relieve Tennison, he tells him. The payoff comes later in the movie, when McClane takes his shoes off to do exercises. At the same time, the group is men strike. He escapes with his gum, and throughout the whole movie, he fights group his team with no shoes. At one point, he has to run across broken glass and cuts his feet up. Set up three is when the federal passengers sees his shoulder holster. McLean explains why he has a gun. Now the audience knows that MacLean is a New York cop set of four arrives when the limousine driver questions him about his trip while you here in Los Angeles, McClane is reluctant to speak, but eventually he just gives some answers from this. The audience knows that McLean lives in New York, that his wife, Holly, lives in L. A. So there is some conflict because there are estranged inset of five Holly shows McLean, a Rolex given to her by the company. The payoff comes in the last scene of the movie. When Gruber is hanging onto Holly's arm at the top of the building, he's gripping the Rolex trap. McLean flips the catch and he falls to the ground. Foreign exercise read through the script, up to the point where McClain pulled the fire alarm. See if you can spot other setups. Understand the links between the set up in Act one on the challenges that appear later on is essential if you are to craft a great script. The falling action after the big climax should answer important questions for the audience and also show how the hero has changed due to his ordeal. Script analysis is one of your most powerful tools for understanding how scripts are planned. Meticulously, right down to the last detail, analyze your favorite films and find out we'll make some tick after this. Apply the structure to your own scripts in the next video, Going to take a look of the Amazon tool for writing scripts. Amazon screenwriter. 8. Screenwriting : Write A Screenplay With Amazon Storywriter: in this lake chair, I want to introduce you to a free screenwriting tool called Amazon Story Writer. It's a cloud based application. You can simply sign in with your Amazon account, so I'm going to sign it now, filling my details and sign in on un directly into the application. You can see that I have two scripts that I'm already working on. But today for the demonstration, I want to create a script. So I click on the Creator script button on the left hand side and immediately unready. Good to go. The first page is a title Peter Very simple title page were simply write something in here test script and your name James. And so we're ready to go weak and start what I like about script writer Amazon story writer , of course, is that it's free. But also, it's a very simple layout. There's no advance details. It's pretty intuitive what you need to do. In an earlier lecture, we saw how scripts are written to a standard industry format whereby each rubric each category is indented by a certain amount. A program like story writer does this automatically, as you'll see now, before we start the movie We Right, Fade in, which is how every modern movie starts. We click enter and you can see that it's jumped to the right hand side. It's been identified as a transition, and this is where transitions belong. So the very first thing we want to do is to write a scene. So we click on scene heading, and I'm going to say that it's internal. So I m t e with a period click a space and then we need to write the location. I'm going to say an airplane anger space, hyphen, and now we need to specify the day or the night. I'm going to say that is night time. Now we press him, too, and he could see immediately. It jumps to the category action. Now I have some some text prepared for the action, so I seem to pace it in. So John enters running, is distressed, is hiding when he's hidden, another man enters holding a gun so we don't have to write. Fantastic pros were simply described events as they're happening with short sentences. We leave it to the reader's imagination to fill in the details of the man that dress on do things like this. Okay, so we can press, enter and click on character because we want Smith to speak. When I click on character, you could see the cursor moves right over to the correct position. We write the character's name Smith and hit Enter automatically. It's moved down to dialogue, but I want Smith to shout because the hangar is big. So I click on parenthetical and all right shouting. And then he returned again. Was still on the dialogue category, so I can simply right. I know you're in here. Don't waste my time on his return When you hit return, it moves back up to the action category and now on to show another scene in the conning tower, the main control tower for the airport. So I will click transition right, cut and and then I can go back to the scene, heading on type external conning tower from 10 trims. Spell that correctly front entrance night press enter and then I can describe some action so you can see that pretty quickly. You can build a per script. The looks quite professional. Everything's in the correct place. You can save it. Let's call it, uh, script saved the draft. If we go back to the script, you can see that once the script is finished, you can submit toe Amazon studios. This is very interesting because a team of professionals will review the script, and if they find it interesting, they might take an option out to study it further, in which case it will pay you to hold a script for three months while they develop it. So all in all, it's a very useful program. It's simple to use, and you also have the chance of submitting your script to a team of professionals who will tell you whether it's a good script or a bad script on whether you have a chance of getting it published. 9. Screenwriting : Submitting Your Movie Script: in this course, we've looked at the main elements needed to create a movie script, from the original idea to the storyline to the practical aspects of formatting the script on the directions required. The original three act structure, postulated by Aristotle all those years ago, has been developed by modern script writers. Until now, we have a perfect plan for creating a good movie. All you need is the idea on the application, and anyone can create a movies trip that could be accepted by Hollywood or a main film producer. When your script is finished, there are a few things you need to consider before you try and submit it to a company or an agent to try and get it made into a film before submitting your script. Ensure that it complies with industry formatting guidelines. If you use Amazon story writer or a similar software, then this has taken care of automatically. Normally, a query, letter or pitch letter should accompany the script with the contents as follows. State brief introduction on the purpose of the letter. The movie script title in Capital Letters, The Movie Logline. A synopsis on a short biography, A logline is simply a one sentence description of your movie with a hook to interest the reader. The best way to come up with a logline is to browse the log lines of movies on this website . Well, you can see one sentence descriptions of many successful films. Here is a one sentence logline for Die Hard. It's short on design to hook the reader into wanting to know more and see the film. The synopsis should be no longer than a paragraph just to tell the basic story as briefly as possible, leaving out all the details. A short biography is highly recommended. Even if you have no related experience but don't lie. It's very difficult to gather the information necessary to distribute a script yourself. It's best to pay a professional to approach industry professionals. This service is not expensive and well worth the trouble two services you might consider or on the screen. Right now, I have no connection with either organization. I really hope you've enjoyed this course. Now it's time to get your head down and write those scripts. Keep in mind that anyone can do it. If you're not going to be the next Spielberg, then who is goodbye 10. Script Planning: a new script writer may start with a great idea, a brilliant idea and enthusiastically start to write the script, trying to develop it as he goes. For a variety of reasons, this is not a good idea. Firstly, if we don't have a firm idea of the whole story, we're writing in the dark, hoping that things will become clearer as the script develops. This approach tends to leave plot holes on. The script is in danger of becoming a Siris of action events with no progression of character or theme. Secondly, even though a movie script is a relatively short document, it is complex and made up of distinct parts which need to relate to each other in the correct way. Keeping track of these parts without previous planning is a hard task, and lastly, script readers are looking for a particular definite structure. It's a movie structure that have been proven over time and this successful at keeping audiences interested and riveted to their seats. If your script does not have this structure, it will probably not be read at all. Your project will be dead in the water. The movie industry has developed a standard letter a query, letter or pitch letter, we say, like to see before a script is considered. A screenplay itself is never send. A pitch letter is received on the person reading it. If he's intrigued by the idea, will ask you for your script. Luckily, the creation of a pitch letter. It's hugely beneficial to you in the early stages. It writing the script. It focuses your mind on the major elements of the story, helps define the main characters and establishes the theme all in just one page of writing . The standard pitch letter presents the title the genre, whether it's crime, spy, horror or romance. For example, The Lord Line, which is a one sentence description of the whole movie. A synopsis, which is one or two paragraphs highlighting the main points and finishing off with a short writers biography. This letter is really must have bear in mind that Hollywood has hundreds thousands of really great writers, much better, or at least Aziz good as you and I. It's a waste of time. Time to impress them with your fantastic writing and try to get your script in front of them. The pitch letter is extremely important it is the only way to get noticed Initially, Creating a pitch letter is a difficult task. Many writers construct all for months to write the perfect script and find it really hard to write one page of a pitch letter. It should encapsulate your whole movie script in simple terms. In short sentences, modernist green writers such as Sit Field Blake Snyder on Michael Hague have a further developed the original idea of Aristotle's three acts into more complex structure. It's a structure which works is successful, and it's a kind of thing that Hollywood are definitely looking for. However, as the structure becomes more complex, it becomes more difficult to organize on. We need tools to help us. Almost all script writers use the concept of beats to describe the story. Evolution of their movie A Beat is a sequence of short scenes presenting a part of the story on different writers may use between 8 to 16. This is a great way to organize Your work, helps keep scenes in order but also allows you to plan the overall structure in line with the Hollywood requirements, beats Camerota neither in words on a table in this form or as a corkboard, where sticky notes or cards can be pinned to the board in various locations. In Section two, you learn how to structure the perfect movie script and how and where to include those events that make a successful movie. A corkboard is a great tool to play around with, but it's not. Portable script beats can be organized using a software such a Celtics, which is a free script writing platform. But I prefer a software that allows you to dig deeper into the structure so that you can examine the scenes and all the notes attached to it. The screenshot shows the first level of a presentation I created for planning my movie scripts. It's basically a digital representation of the corkboard concept, but with one important difference. A mouse click on any circle will expand it to show more detail, such as a list of scenes in that beat some images or even a clickable your l two other resources on the Internet to help you in writing your script in Section three, you will learn how to create and use such a template on how to copy it and use it for all your movie script organization 11. Movie Script Planning More About The Pitch Letter: the pitch or query letter is vital for submitting your finished stripped for consideration by an agent or movie. V. I. P. However, making it your first task will focus your mind on your story and is a great test of your own understanding of the plot turns before any script could make it into the production set up to be made into a movie. First it was get past an agent or a producer. An agent or producer doesn't simply read every script that comes across his desk. They read what is called a pitch letter or a query letter. The query letter is very short, and it just gives you the basic idea on the basic information about a movie plot on what happens within it. The difference between a successful screenwriter Onda failure comes down to just one thing . Not a great movie script or a fantastic idea, but a great pitch letter. It's not only necessary, but absolutely essential. If a script is to be noticed, the guiding principle is simplicity. The letter must be short on Hook the reader. From the very beginning, the object is to get the agent or producer toe asked to read the movie script, Let's take a look at the structure of the perfect picture town. First of all, introduced the title of the movie. This is simply done in one sentence on the title of the movie is in Capital Letters. Then you state the genre by placing this early on in the letter the agent or producer nose if he should continue or not, because they deal with different genre, so they may not be interested in that particular style. Creating a great logline is perhaps the most challenging part of the letter. A logline describes the whole movie in just one or two sentences. In this example. On the screen we can see the logline for the film Terminator, written by James Cameron, and in this example we see the Logline for Die Hard with Bruce Willis. You can see that in this logline for die hard. It gives a lot of information in a very short space. With very few words, we're given the hero's name. John McClane. His job. NYPD is a New York policemen. His conflictual quest is to save some hostages. We have the villain's name on this status. It's Gruber and he's a terrorist. We know when because there's a Christmas party involved. I'm where, because it's stated that the conflict happens in Los Angeles. In addition, were also told that McClain's wife's last name is Genero, which serves to intrigue us a little bit. Why should their names be different? This is just one more reason why we should be curious about watching the movie. The best way to develop this skill of writing a movie logline is to search for successful movies in the database at www dot i m d b dot com and analyze the log lines. You should write a very brief synopsis. Introduce your main characters, explain what they're trying to do on what barriers or obstacles they face in their quest. Finish off the synopsis by stating what will happen if they fail at their task. What are the consequences? Or the stakes of the game? The synopsis displayed is extracted from the pitch letter sent to promote the movie Terminator Within by James Cameron. The challenge is to make every word count, keeping the paragraph short but including the essential ingredients of the movie. The letter is finished with an autobiography, but a very short one. It could be the easiest part of the whole letter, but it should also be crafted carefully. The bio should focus on Lian positive aspects off the office talents, whatever positive aspects, the author has trying to turn them around to the advantage of the movie script and show how they're relevant. However, if the author has no relevant diplomas, awards or experience, it isn't necessary to state this Because this is negative, the bio should contain only positive elements. Finding these positive elements and stating how they contribute to the script is part of the way in which you sell the author and help to get his script read. 12. Beats Page 1 to 55: I'm going to explain how one professional screenwriter Blake Snyder organizes a script into Beats a Beat is a sequence of seems, and this paradigm that Blake Snyder uses is a proven success in Hollywood. In subsequent videos, I'll show you how this technique is transferred onto a physical corkboard so that you can organize and order your force and scenes and later on how we can transpose that onto a free presentation software so that it's fully portable wherever you go, I encourage you strongly to purchase the book by Blake Snyder. It's called Save the Cat, and it will teach you everything you need to know, to write great scripts and to submit them successfully to movie producers. The story is split into 15 beats or seen sequences. Each beat is described by its function in the movie. The Table Shown represents the first stage of the process and contains the beef title, the page number or numbers where it should appear. On the brief summary, which expends on the title. I'll explain in detail the purpose of each beads on. We're going to assume that the ideal script is 110 pages long, which is 110 minutes in movie time. The first images the audience sees sets the tone for the movie, giving the viewers expectations of what they're going to see. Remember the opening scene for the first Star Wars movie? It left us in no doubt we're in for an exciting adventure in space. The hero is also introduced in his normal life before everything changes. The open and final images should be like Brookins, similar but different and opposite. At some point during the 1st 5 pages, the movie script theme should be stated. This is often in the form of a question, from a minor character to the hero, a question such as, Is it better to be honest and pull or devious on Ridge? This theme is then explored throughout the movie. The set ups should be complete within the 1st 10 pages and has various functions. It described the heroes normal life before it changes and also introduces Aled, a main carriages, either directly or by other Effros the heroes. Faults are shown, and normally the greatest faults have to be reversed if he is to succeed on overcome the obstacles in the rest of the script, list the minor faults and try to correct them in various ways. In the rest of the movie script, the catalyst is an event that turns a hero's life upside down literally and sends him in a new direction. It should be certain, completely unexpected and force his hand. Perhaps it's a visit from a stranger with a terrible message or inheritance with strings attached, maybe a violent robbery or just losing a job. The event should be strong enough to change the hero situation so that they has to take a different direction in life, perhaps necessitating a journey. The debate occurs between pages 12 and 25. In this section, the hero is wrestling with the question. Should I take the challenge on, move in the new direction or stay here and try to stay safe? Deep down, he knows there's no choice. If he is to succeed in getting what he needs, he needs to move on. But during this time, it's severely doubts his own abilities and may search out a mental to help him decide. On Page 25 we break in tow, Act to the hero leaves his old world into the new which is very different from his usual comfortable situation. He has started his quest towards his goal. The hero must make a conscious decision to end to act, too, and not just find himself. They're driven by events. This is too passive for the audience. The hero needs to be decisive and take action. The B story serves two functions. Normally, it's a romance where the theme can be explored but also provides a change in pace on flavor to the A story. After the big changes in Act one, the audience needs a breather, and the love interest provides just that. The B story runs parallel with a story, of course, and it has a positive effect on the movie outcome. This section is called fun and games on Dacres between pages 30 to 55. But of course, in a dramatic story, it can be anything but fun. And games, basically, is the heart of the movie. It does tend to be a bit lighter than the rest on the theme is explored fully, the hero grows in confidence, having some successes against the body before crossing over into the rest of the movie towards at three, where things get very serious. Indeed. In later section, the bad guys pile on. The pressure on seemed to inevitably overcome the hero, and so we reached the midpoint of the movie script on Page 55. This is the point where things change. Up until now, the hero has had some success, but it's a full success. From this point on, the bad guy piles on the pressure until it seems as though the hero cannot possibly succeed . 13. Beats Page 55 to 110: So far, we've achieved a lot up to the midpoint in our script. We've introduced a hero, the villains on all the main characters, and they've been developed somewhat. We know what the hero wants, and we know what is opposing him. We've also introduced a B story in the form of a love interest we feel run parallel to and supplement and complement the main story for several scenes. Now, the hero has had some successes against the adversary against his antagonised on the even the things that he might be winning. But this is quite temporary. On the midpoint on Page 55 is where things turn around. Things get much harder as the baddies regroup and start to attack the hero remorselessly in the 20 pages after the midpoint, the bad guys regroup and they throw everything they've got at the hero. Things get worse and worse. From this point on, how can he possibly succeed? This is also the time when the hero loses the support of anyone helping him. His friends desert him is truly alone, against tremendous odds. It looks as though he's finished at the point unpaid 75. It seems as though all is lost. This is the opposite of the Hotpoint, the hero experienced on Page 55 the midpoint. It really does seem as though we can't possibly pull through. But of course, this final defeat is only temporary. There is often a death at this point. It may be the mental, a friend or even a pet, and it's symbolic of the death of the old ways, moving into something new after the all is lost moment on page 75. In the 10 pages of Follow, we have a period called The Dark Night of the Soul. This is the the lowest point for the hero. It's a darkness before the dawn. He feels desperate, hopeless and alone, with no chance in his mind of succeeding with the quest. As we break into Act three, the hero digs deep into his resources and find the answer that will defeat his antagonists and save the day. This is largely due to the influence off the love interest in the B story. On the conversations they had about the theme Remember, the theme was stated way back on page five. He has the solution. All he has to to is to apply it, beating the bad guys and winning the heart off his lady. It's time to act between page 85 to 110. The movie's moves into the final ax. The movie is wrapped up on all loose ends are tied together. The hero applies the lessons he's learned throughout the movie. The bad guys are dispatched. The henchman first leading up to the end of the main villain, the main villain on his horse must be completely destroyed. If a new world is to be created from the old, The final image is opposite to the opening image and should show huge changes. Now we know precisely right down to the page exactly what scenes a required on what kind of events are needed to create the perfect Hollywood movie script. In the next lesson, I'm going to show you how to use a physical corkboard toe, organize the scene elements in the form of carts 14. The Planning Board: now that we've identified the main beats of the movie our story, and we know what kind of events need to appear on what pages of the script when the A really good visual means of organizing our sequence of scenes. Blake Snyder recommends a simple corkboard with cards pinto the board in certain locations to help jog our memories of what should be there on how we should organize the scenes. This is my planning board for a story I'm working on. At the moment, it's about 90% complete, almost ready to be written out as a script. I'm going to turn it around and demonstrate how it's built and used from scratch. Although there are three acts, the board is divided into four parts, which could be done with masking tape. The first section represents Act one from page 1 to 25. The second represents Act to pays 25 to 55 which is the midpoint, often ideal script of a 110 pages. The third Represents Act to page 55 to page 85 on the Fourth Represents Act three, which goes from 85 to 110. If you wanted to. You could write the page numbers for each section on the masking tape to help you decide where to place the events. Now we can mark the major points on the board taken from the 15 beats described in a previous video. First of all, the points break into two midpoint on Break into three. You can add the first and last images and also the theme on Page five to remind yourself that the theme should be stated in the 1st 5 pages. Mark the Catalyst Point on page 12. This is the event that changes everything and leave a note reminding herself that the debate occurs between pages 12 to 25. This is the time when the hero saves himself. Should I go or shouldn't I can I can tell. Mark paid 30 in Act two with the B story, where a love interest may be introduced from pains 30 to the midpoint on Page 55 is where the fun and games section happens. This is the time where the hero has some success and there's some kind of action before the plot turns around at the midpoint. For the worse the bad guys close in between pages 55 75 on on paid 75. All is lost. This is when the hero situation is the worst that could possibly be. It seems that defeat is imminent and he can't possibly win. But of course, this defeat is temporary. The dark night of the soul occurs between pages 75 85 before the script breaks into Act three. The finale is the whole of Act three. This is after the hero has had the brilliant idea and starts to turn things around and defeat all the bat is. The next stage is to gather a pack of yellow cards or any color you prefer on begin to develop your script idea, making it more concrete by writing down the ideas and pinning them to the board. Think of an image or an image sequence that represents the tone and style of your movie, and now pin it to the board. Pages long to 10 is when we set up the movie, when all the main characters are introduced, or at least referred to and also shows what the hero's life is like before everything changes, write down things like the characters, names their main personality features and pinned the card to the board. Use a separate card for the hero enlist. His character falls because these will be corrected throughout the movie, allowing him to change so he can meet his challenges. Imagine scenes that clearly show his normal life and his faults, but also his nice side. So have the audience identifies with him and wants to know what will happen to him, Right? All these on a card and pin it to the board sometime before Page five. A colleague, a friend or even a passer by will ask him a question. A very relevant question. This question will represent the theme off. The movie, as you move forward on, will be addressed again and again before it's resolved at the end. What is this question? What is the theme of your movie? You should be very sure of this. Who will ask it? I will the hero reply. Write it on the card and pin it to the board. Write a description of the catalytic event on a card and pin it on page 12 from 12 to 25 is a period when the hero is deciding if and how to react to the catalyst, the event that is risking to change his life. He's asking himself lots of questions in this debate period. Is it safe? Can I do it? There's a lot of self doubt here. He may consult on older friend or a family member or some other kind of guru, such as a college professor. In this part, we must be clear on what the stakes are. If he enters the quest and he fails, they must be very serious. Imagine the scenes, write it all down and pin it on the board. At the end of this scene, the hero axe dishonest, lively on decides to enter the game, describe how and why and pin it to the board with another card. Whatever other ideas come to you, join this process, dialogue or events, anything. It'll jot them down on a separate colored card and pin them to the board in the right place . You'll find that the process is great for stimulating the imagination, on also bringing up new ideas that you can add into your movie script. This is a great help when you get to the point where you need to turn this storyboard into a written script. Now I've shown you the first act using the beat structure we demonstrated on discussed in a previous video. Take each event and pin it in the correct place on the board trying to describe that event in the terms of seems any dialogue on the characters involved. In the next video, I'm going to demonstrate how to use the same kind of planning tool in a software format by using a demonstration platform online. 15. Introduction To The Planning Software: using a screenplay plan it organize the beats or seen sequences for a movie script is a great way to organize your ideas. It helps you to place the events in exactly the right place in a place that the audience expects and we'll love to follow. Blake Snyder Also add actual seems to the board as well. I strongly recommend that you you buy his book, Save the Cat, and you see exactly how he does this. Although fun to play with and I've used it to plan a movie script. It has one serious disadvantage. It gets very cluttered. There are pieces of paper pinto the board all over the place, so I use a demonstration software toe. Organize the beats into a structure that I could drill deeper down into adding mawr and more detail, as I wish. The software I'm going to use is called prexy dot com, and it's normally used to make project sales or marketing presentations on both on or off line. It lends itself very well to the purpose of screenplay planning. Interprets si dot com into your browser on Click get started. We're going to use the basic and scrolling down with the mouse will continue with a free account. We complete the details, your name, email address and password. Click are not a robot and create Ofri account and click on new presentation. You can see here if you scroll down that there are many templates to choose from for different purposes. All of the Templars need different skill levels to manipulate them. So I'm gonna choose the very 1st 1 because it's for a novice. Click on the presentation. Click. Use this presence. Sorry. Click used his templates, and it will quickly open up for us to work on. The first thing I do is to change the title by simply clicking in the box on writing whatever we like. Either screenplay planner or the title of a possible movie. Delete any text, but we don't require. At the beginning, we only need one topic circle, so I'm going to right click on the others and simply delete them from the drop down menu. - I'm going to change the background as a corkboard image. Click on the image. It will be inserted. Wait a little while, and there it is. Open Need to do now is to place the topic circle in a better position. We're going to take this initial topic. Are we going to duplicate it? Because this topic, in fact, is one of our beats. - We know we have 15 beats, so we're going to copy this by right clicking on the drop down menu kicking copy. Now we can't use the mouse to paste on this platform. We simply click Control V. If we heat, keep hitting Control V again and again, we'll keep reproducing the same topic circle when we have 15 beats, which all look identical. We need to change the color to our liking and also to change the titles inside the circles . Because if you remember, our software planning board is going to look like this is separated into three acts with paints. Numbers for each beat on the beat is identified within the topic circles. Once the beat circles are complete, you have all the main events and items that you need for a great movie script at your fingertips, you can refer to them on add to them any time at all the process and issues at the key events that are necessary for any purchase. Herbal Hollywood script are there in the right place. In the next video, you learn how to complete each beat with the details from your movie script. 16. Using The Planning Software: So after we've created our board so that it looks like this, we can start at the detail we need for this software version of the Planner. I've separated the board into three instead of four, so that each horizontal line represents an act. This means that the midpoint is somewhere in the middle of Act two. There are 15 major beats on the page. Numbers are clearly marked on each beat. If you remember from the physical corkboard Act, one was quite busy. Act two seemed quite busy as well. On AC three was marked Justus finale. Of course, there's much going on in Act three, so I just added minor beats and green to reminders of the detail required. Click on the first beat opening image. He will expand and you'll see a text area for taking notes. Also, you can insert an image by using the menu above insert image, and I have chosen a Jeep, which is in line with the text. What I've suggested that someone is being chased through the desert. If we click on the sub topic characters to the right, it will open up, and I simply make a note that in this scene or sequence of scenes. The main character is Nate Baxter and therefore can't bike writers who are minor characters . Anything at all can be listed in this section. And if you need to make other knows simply creating the sub topic and have them there, this character list should really be a feature of every beat. So when you open up, this beats from the original template. Simply delete any Tate or images or some tough topics that are not needed, and replace it with your own text and images. Click on the next beat, the theme stated on Page five, and here you can make a note exactly what is your theme? Is it love? Is it money? Is it about integrity, honesty, trust or loyalty? Make up your mind now. This team needs to be stated as we talked about before, and it's a question from Mike Nate's brother. It was completely different outlook on life. Maybe one believes that answer to everything, and the other one believes that money is the institute of everything. So stage your movie theme together. Information about who asked the theme or who makes a statement. We have a sub talk it topic cold notes. Click on this sub topic, and you can read the notes that I've written quickly. Nate and his brother have always been rivals on the opposite. In many things, they both have to change in order to see the truth of life and the value of love. Here again, when you open up this sub topic and you re title it, delete any elements you find in there from the original template on. Just add your own notes about the situation. Click on Overview to get back to the original board, and now we can click on Set Up, which occurs between pages 1 to 10. Write down the things that need to appear in this beads. Main characters are introduced or at least hinted at or refer to show the heroes normal life before the catalyst changes everything and list the heroes minor and major faults to be addressed later on in the movie, the first sub talked topic could be labeled Heroes faults, and this is where we could list them. These are the things that need to be corrected throughout the movie. If he is to succeed in his quest, for example, Nate doesn't care about anything. He professors in the No. One his intelligent. But he's always had uneven, easy life. He's never had to fight for anything his selfish on, reluctant to put himself out to help anyone. He is vain about his looks and his physicality. Sub talk it sub topic to could be used to list the main characters sequence of seems Why Need Satellite topic might be dedicated to the description of the characters. So here we have Nate Baxter, his brother, Maria Henson, Barry Jackson, etcetera. So we created the sub topic for Nate Baxter, and we can add some details to flesh out his character. He's a marketer and writer, lives in L. A. He's 25 years old. Headset. Simply click on each beat element an end to the detail that we discussed in our previous videos. When we get to the finale, you can see that we have smaller sub beats in green at the bottom. This is where you can add the elements discussed for the finale between pages 85 110. These are the things that need to happen during that period so that the new world is created and all the villains are vanquished 17. Looper Script Analysis: now, if this particular beat or seem structure were so common in successful Hollywood films, then it should be quite easy to find For this session. We're going to analyze a successful movie script called Lupu. It's a science fiction time travel time type movie, and we're goingto take a look at the script and find out if we can pinpoint the turning points on the major beats before we start. Let's take a look at the log line for the movie Looper. This is the one sentence description of the whole storyline in 2074. When the moment wants to get rid of someone, the target is sent into the past. We're a hired gun, waits someone like Joe, who one day learns the mob wants to close the loop by sending back Joe's future self for assassination. The synopsis expands on the logline and gives more information. I'll give you a minute to read it before moving on. First, we should have open and final images that are a little like book ends. They're similar, but different in important ways. They are opposites. In the opening images, Joe waits in a corn field for a victim from the future. It's a normal day of work for him. And here's a script beginning describing the scene for the final scene images. Joe is in the corn field again, but he's dead. He has changed so much that he killed himself to save a child. I searched for a statement about the movie theme in the 1st 5 pages. Instead of one statement, the theme was referred to again and again. Basically, it's a dog eat dog world. Everyone's out for themselves for what they can get. It motivates everything. What you are is what you have. The strongest evidence of this is perhaps when Joe uncovers his prize possession, a cherry red sports car before going out on the town will ignore the set up between pages 1 to 10. But I want to focus on the main beats on turning points. The catalyst is the event that changes things in Jill's life, and sure enough, it appears at the beginning of Page 13 Joe must choose between helping a friend in trouble or staying safe. It uses to help and later denies his friend. But the whole process shakes him up. The script describes how this event stars. There should be a big event to push our hero intact, too, and we find this exactly where we should on Page 26 Joe's next victim hams to be himself from the future. If the beat structure is correct, we should find a B story in the form of a love interest on or around Pay. 30. And sure enough, Joe meets his future wife on Page 31. Another big turning point needs to occur around Page 55 which is the movie's midpoint. In the Loop. A script Sarah finds Joe in her bond on the farm. And yes, it's bang on page 55 right in the middle of the storyline. I'm going to stop right there instead of going through the whole structure, because the point is largely proven. He's time, which search for an event or a beat with the right page number. Then we eventually find something that correlates. It proves that this structure is behind successful films. Looper is an ideal script to analyze because it has around 110 112 pages. If you're working with a script that has more or less than you need to compensate for the page numbers 18. Conclusion: in the course, you learned that successful movies have a definite structure that appeal to audiences and drive the story forward. In an interesting way. Morning screenwriters have improved on the original Aristotle idea of a three act story and added extra events and things that need to happen within the plot to move the story forward . We then went on to discuss how writers like Blake Snyder on others split a script, a Pinter Siris of beats or seen sequences and how these beats can be used as a visual representation, which is also a great tool and the aid for planning a script. It seems pretty obvious if you want to have any chance at all a selling your script, then your movie needs to follow the structure that is accepted by 99% of Hollywood producers. You also learned that a picks letter or a query letter, while essential at the end of your project so you can submit he'll work to a producer on agent. It's also very beneficial before you even start to write, because it focuses your mind on the essentials of your story. If you'd like more insight into transferring the story ideas onto an actual script. You may like to enroll in one of my other causes. It's called How to Write a Movie script. Use the coupon code below and you will benefit from an 80% discount. I hope you've enjoyed this course. Take care. Happy writing on. I'll see you again. Bye bye.