ULTIMATE HOLLYWOOD FILMMAKER - (Module 1 & 2) Concept Creation | D M Stockton | Skillshare
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ULTIMATE HOLLYWOOD FILMMAKER - (Module 1 & 2) Concept Creation

teacher avatar D M Stockton, Multi-Award Winning Filmmaker

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Class Introduction

      1:51

    • 2.

      1.1 - Module Introduction

      0:21

    • 3.

      DOWNLOADABLE File Structure

      0:27

    • 4.

      1.2 - Introduction to Pre-production

      4:40

    • 5.

      1.3 - Understanding the Hollywood Film Making Process

      4:02

    • 6.

      1.4 - The history of Hollywood

      5:36

    • 7.

      1.5 - Intellectual Property & Copyright

      6:00

    • 8.

      2.1 - Module Introduction

      0:27

    • 9.

      2.2 - Outcomes

      4:13

    • 10.

      2.3 - Genres

      6:40

    • 11.

      2.4 - Characters

      11:44

    • 12.

      2.5 - Story breakdown for Feature Films

      7:54

    • 13.

      2.5 ASSIGNMENT | PART 1

      7:19

    • 14.

      2.6 - Story breakdown for Short Films

      4:54

    • 15.

      2.6 ASSIGNMENT | PART 2

      6:25

    • 16.

      2.7 - Character Arcs

      5:28

    • 17.

      2.7 ASSIGNMENT | PART 3

      6:43

    • 18.

      Class Summary

      1:14

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About This Class

Don't wait. Your filmmaking journey starts here!

ULTIMATE HOLLYWOOD FILMMAKER - (Modules 1 & 2) Concept Creation

Let's focus on your future self. Do you have dreams of being a film director and producer? If so, this class is for you. This is the class that any aspiring filmmaker should take. Finally there are classes designed to give you all the knowledge and guidance needed as you move down your filmmaking journey. These classes are not to be missed!

Sometimes the hardest part of getting started with writing a story for film is just that, getting started. Where do we start? This is a question that can get many aspiring filmmakers and screenwriters stuck. But there are some easy and clear steps which can help you with this, no matter what stage of your filmmaking journey you are on, or what skill level you are at. Getting things right at this early stage will give you a huge leg up moving forward throughout your filmmaking process, and will give you a clear understanding of all the important elements if your story. This module goes through concept creation for your film idea. 

Understanding the film making process can sometimes be confusing and complex. What are all the steps that should be taken? What are their purpose? In which order should I do them in? The biggest issue for many people is just knowing where to start. Even for those who have made films before, there are so many steps involved within film production that chances are they aren’t doing all the steps that are used in industry to give the film the best chance of being completed on time, and to the highest quality possible with a single vision in mind.

Thats where we come in. This class is designed for complete newbies, to those who are studying film, and those who have even made films previously, but want to polish up their filmmaking skills. It’s time to leapfrog your education and give yourself the best step forward. In these classes we guide you through all the processes and steps used by Hollywood, and all over the world with proven track records of assisting the productions and allowing them to stand out. Come along with us and create your film using these classes as your guide.

These classes focus on the A to Z of the Development & Pre-Production filmmaking stages. All of your favourite films follow this formula which these classes cover. And for good reason, these steps have been perfected in the past century and are proven to be steps to creating great films.

Meet Your Teacher

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D M Stockton

Multi-Award Winning Filmmaker

Teacher

Hello, I'm Dana Stockton. Over my past 10+ years working professionally I have worked on feature films, TV commercials, TV shows and a number of other videos. I am award winning in a number of fields from game development as well as winning many awards for my film making in a number of places around the world. Australia and Hollywood just to name a few.

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Transcripts

1. Class Introduction: Are you ready to jump start your career in filmmaking? When I started out in film, I've found it so hard to learn everything I need to know about making films. That's why two years ago, I decided to make a course that would do just that. But that will guide you through all the steps and processes that you need to know in order to make a film like The pros. I'm so excited to introduce ultimate Hollywood filmmaker, where I tell you everything I've learned, winning awards all around the world, including Hollywood, and having the opportunity to walk along the red carpet and be noticed as a filmmaker. Now it's your turn to do the same old films start with a great idea, and that's what this module is about. In this module, we'll go through all the stages in nothing down a solid and A-Z to understand idea, I discussed things like outcomes, different genres, and how this impacts the story. I also write down the story structures, but different types of film which he used within the Hollywood industry. You'll find this a defining resource in your film making so that you can tell the world that your ready to make a nine-fifths cells telling amazing stories through film. I have left nari rock unturned and have included all the steps that I use as a multi award-winning filmmaker so that you can catapult your skill set to the next level. So take this opportunity and sign up today. This is your time to shine. 2. 1.1 - Module Introduction: Welcome to module one. In this first module, we'll go through an overview of filmmaking will give you a breakdown of all the different steps within the filmmaking process. In addition, will give you background information about the Hollywood industry and also some very important things to note, such as intellectual property and copyright. 3. DOWNLOADABLE File Structure: Just before we start, I've created a file structure for you. This can be used to save all the worksheets and templates. So everything can be saved in their relevant spots. This making it easier for you moving forward to find other relevant information in the future. You can also save all the learner guides for each module within this file structure. And it's an easy way of keeping everything organized so you can access it at anytime in the future. 4. 1.2 - Introduction to Pre-production: So this first course focuses on preproduction. So you might not quite understand what this means. What pre-production is, is it's basically the steps leading up to the stage where you're filming. So this can involve a wide range of things. And I'll be covering as much as I can here. And overtime, I plan to slowly grow this course into a comprehensive explanation of the filmmaking process and all the steps that are involved step by step. So let's quickly talk about narrative filmmaking again. What kind of outcomes are involved with narrative filmmaking? And by outcomes among the different formats in which these can be watched. For example, this could be a television show, feature film, short film, TV commercial, just to name a few. So let's go into the filmmaking process. As I mentioned before, there are three main stages of making a film. These three stages, preproduction, production, and postproduction. And within each one of these stages, there's multiple milestones with an array of different people involved, different tasks and different duties. We're together on a single goal. But as this first course focuses on pre-production, let's run through a rough summary of some of the steps that are involved with the development and pre-production stages. But keep in mind that what I mentioned in this video is not indicative of what's in this course. This course goes through a lot more information in a lot more detail with a lot more steps. And if you follow these steps correctly, it will go a long way in your education process. It all starts with concept creation and story development. And what I mean by this is coming up with that concept, that really amazing idea, that gripping idea would you think will make a compelling film. And at this stage, it is just a concept. You don't want it too complicated. And this normally manifests as a synopsis or a short description. From there, you'll write what's called a treatment. The treatment is basically a breakdown of the story. But this is before you write the script. So at this stage, it's more of a story format rather than a line by line script format. At this stage, it's about getting your idea down on paper and how you want your story to run. Another part of developing the story is called character descriptions. This is where you sit down and write a description about your characters. This is things like their personality, their background, how they dress, how they act. It's all the important information that you can use when developing your script and your story. And there's a whole range of different traits which you can add, which are breakdown in a further video. Then we move on to script writing. Most of us know what a script is. It's basically a line for line, word for word, book, which is used by everyone in the filmmaking process. Following there, we move on to storyboarding. And previous. For some people, storyboarding is the most daunting task. But it can be the most beneficial if done the right way and all break down different ways of creating these. So it's not such a daunting task. And then we move on to the planning stage. This can involve things like location scouting. Then we look at other things like how to find actors. We talk about things like costumes and makeup. And how this assist with the storytelling. Things that you might not necessarily do hands on, but it's still worth touching on. Sorry that you can get those people involved with the film and can assist them the right way. And then we go on and create equipment lists, listing what equipment you need. And this can be vital. And I'll explain in a further video how this exactly works. We talk about scheduling. This can involve the who, what, when, where pairs of filming. Again, all of this is covered in a further video. As before mentioned, these are just a few of the steps that are going through in this course. So buckle up and get ready to delving deep into the development and pre-production stages. You may have heard of these stages where you might not. Either way, there is so much information in this course that will be very beneficial to you and your career. So with that said, let's move on to the next stage. 5. 1.3 - Understanding the Hollywood Film Making Process: Welcome back. I wanted to explain briefly how the Hollywood system works. As it's what most of us around the world are accustomed to. As I said before, there's different stages involved with the film process. And these vary sometimes. But for lunch spot, they're very similar. It all starts with the development, developing the story. This involves things like funding, rotting treatments, writing scripts, developing this story, unraveling the characters, working out how exactly the story is gonna get expressed to the audience. And this involves a range of people, from producers to screenwriters, to arrange of other people involved with the film process, like the directors and a range of other people. Once that's organized and they've got a set story. Then we move on to the pre-production. And this is where we start to bring the story to live. Sorry, the production designers who start designing all different elements of the film, like set ids, character design, and a range of other things. The directive will assist him or her in this process. That will also look at getting all the actors involved, will start storyboarding the film and really fleshing out the artistic vision for the film. Then we move into production. So this will involve getting on sets ready, making all the costumes, and building all the other elements that unaided ready for filming. This can also involve things like screen tests and rehearsals. And once all of this is organized, we then move into what's known as principal photography. You might hear the word photography getting used when referring to the production of the film. And this is not to get confused with still photography. Taking photos, as I said before, what we're talking about is the actual filming of the production. And the principal photography can last a couple of days, a couple of weeks, in some cases, even a couple of years. And then we have what's known as wrap. And wrap is referring to finishing up the filming or the production of the film. At this stage, you should have a few dailies created. And the daily is basically a rash edit of the same or looking back at the raw footage filmed from that shoot. And this is to make sure they've got all the shots they made. This is in no way a faunal cut, but is solely used to make sure they've got all the short sign aid and they've turned out the way in which the director has desired. And then we move on into post-production. And now that's where we get into the editing room. The footage will be edited and then we'll have a first cut. If the film involves visual effects, then the shorts will get passed on to various visual effects departments involved with the project. And in most cases, this involves a separate company that is hired to do that job and they also do what's known as color grating, which involves correcting and changing the colors of the footage in a desired way. Both the director and director of photography will be involved with this process. Once the film is completed and the studio approves the cut, then it's time for distributing the film that will usually have a premier, which can also involve all the directors and actors going on tour and speak into all the press about the film, trying to drum up some excitement and interest in the film before it's released. And then the film will be run in cinemas. Now this is changing a lot. And in the last few years with the invention of things like Netflix, where now a film that used to be running for a few weeks or a few months in the cinemas, will go straight onto Netflix. And they'll do this because it's a way of getting people interested in their service. As I said before, these stages may vary depending on where bats in the world you are and the companies that's creating. But for the most part, that's a breakdown of half-tones created. Now let's move on to the next stage. 6. 1.4 - The history of Hollywood : Before I go into the nitty gritty of the filmmaking process, I want to make a quick video explaining how the film industry became what it is today and how it grew from nothing to a stage where most of us will watch on a daily basis. In the 18 hundreds, there was a lot of experimenting with moving photography. A couple of these people involved with the first known motion. And I apologize if I say their names wrong here. These people were Auguste and Louis Lumiere. They first started experimenting with playing multiple photos, one after the other, and projecting them onto a wall. They created a number of works, but the most notable is the one where a train is coming towards them. Now these films would be shown in various places, such as carnivals and circuses. And they'd use it as a sideshow where people were invited into a dark room and they'd play the footage. And when they played the footage of the train, people would jump out of their seats and screen thinking that the train is coming towards them. Now this might sound really odd in today's standards, but think about new technology that comes out, such as VR and AR. There is still that same wonderment and excitement involved with those. And there are days where wash with technology. And back then it was unheard of. The ID of a moving image was very alien to them. And these first experiments with camera technology was one of the first notable stages in creating what we now know as the film industry. In the decades to come, figures such as George Bailey is, would really experiment with this new technology. All these different studios started popping up. And they're not like Studios. And today they're more like a greenhouse hothouse where it's just glass from top to bottom and also on the roof. And the reason why they did this is because the technology was so primitive, they needed as much light to flood the same as possible. So doing it this way, it meant they could have as much light on the subject is possible. Amelia's is notable because he created back then some really creative ideas like portraying the moon in spaceships, IDs that had never really been fleshed out in this format before. And this was probably the first attempt in creating genres we now love, like sci-fi and fantasy. Some other notable films is like the one from 1943, the Great train robbery. Films like this, where the first attempt at creating things that we now take for granted infill things like telling a linear story and using cuts to assist with the storytelling. We also saw experiments with animation, such as the humerus phases of funny faces. We also saw the first feature-length film, which is something close to my heart being Australian, It is the story of the callee down. And if you don't know exactly what it is, Ned Kelly was a figure from the 18 hundreds. They will miss traded by the Victorian police and they rebelled. It's a really interesting story. And if you watch the film Ned Kelly, you might find it really interesting. Unfortunately, due to the passage of time, we don't have the entire cut anymore, but we have a few scenes as seen here. We then went on to experiment with things like color infill with a number of different processes created. One of the most memorable is the technology called Technicolor. Some examples of this is like flowers and trees, credit by Walt Disney. And we also can't forget the Wizard of Oz. A clear example of the wonderment of color, with the same where Dorothy walks into the land of ours. The other major element of film is sound. Early films that included sound were called talkies. Before this stage, the only music you'd have might be a piano is playing in the background, which is hired by that theta to play that music. Or an orchestra that will play on a stage below the screen. And it didn't take too long before sound really took off became the norm in the industry. From here, there were minimal changes in Hollywood and there was more of a progressive change in the industry in the 19 fifties and new color technology called Eastman color was released. This was cheaper and easier to use than Technicolor. And this new film technology would be used all the way up into the nineties with the advent of digital technology. Now we're seeing a large change where people are transitioning from film to digital. We're getting to a stage now where most films will be filmed on digital, with a few directors that still prefer to use film. But for a large part, everyone has moved to digital. So that's a little bit of insight into the Hollywood industry. Hopefully, you found some interesting packs in there. Let's move onto the next video. 7. 1.5 - Intellectual Property & Copyright: Welcome back. We're now going to talk about intellectual property and copyright. It's baffled the budding artist for centuries. But what is it? And what does it mean? According to Google, copyright isn't exclusive right given to a creator of a creative work to reproduce the work. Usually for a limited time. The creative work may be a literary, artistic, or musical form. So let's stop there, double back and let me explain. Mate, Tom. He's discredited the next Mona Lisa automatically. This work is covered by copyright. There is no registration needed. It's automatic. However, in some parts of the world, you can register this work, this creating written proof that it's sure work, making it easier to prove if someone did steal or copy your work. So let's say shady mic shady decides to steal your work and started selling copies of your artwork, then he can be taken to court. And if found guilty, he could fund a lot of money or in some cases, taken to jail. However, there are some circumstances where the creator of the work doesn't actually own the copyright. So let me give you some examples. Let's say you're working for a graphic design studio and you're designing them a new logo, then you would be an employee of that studio. And all the copyright is forfeited over to that company that you're working for. Some other examples would be a film studio such as Disney or universal. Let's say they wanted to make the next blockbuster. Said I gave funding to a film production company to create that film. Then S at film was funded by studios. Then the studio will keep all the copyright for that project. So in its most basic form, copyright means it's your work, you created it. So if anyone's stole or copy your work, then this is covered by law. There's a few caveats worth mentioning about copyright. However, for example, this could be fair use. Fair use is a doctrine that permits limited use of copyrighted material without the permission of the copyright. I know these are specific circumstances such as parody, non-profit, criticism, and commentary. This work must be what's known as transformative and can't be used in its entirety or used for any other purpose. The mentioned before, there is no clear definition of what is fair use. So use it cautiously. There are other forms of intellectual property other than copyright. For instance, trademarks. These are designed for businesses. All sorts of things can be trademarked. Names, to Logos, to packaging. Even some colors have been known to be trademarked. However, this isn't automatic. You have to register to get something trademarked. And this will last for only ten years, after which you'll have to read register. And trademarks are only valid if you're actively using the item that you've trademark within that ten year period. Other forms of intellectual property are patents or patterns which are used for inventions. And just like trademarks, these also need to be registered. Getting a patent can be huge process with a very detailed breakdown of your invention needed, with an array of other information like the inventions use, and the industry that it gets used in. Another form of IP is an industrial design, right? Which can last anywhere between 15 years to 50 years, depending on the location you're registered within. These rights protect the visual design of objects. So as you can see, there's all kinds of intellectual property for different purposes. And intellectual property is a matter of law. So don't take it lightly. When working on your own projects. Make sure everything you use in that project is yours. As now you understand, it's a matter of law. So how will this affect your film surface status? Any music you use must be either copyright-free or you must have written permission to use that. So what is copyright-free? Luckily, we have what's known as Creative Commons, which is designed to make it clear what you can and can't use. So for example, Creative Commons Zero means that you can use that music for anything you want. Other ones such as Creative Commons, one means that you can use that track, but you must credit the artist who created that work. Creative Commons can be used for more than just music though. It can be used for graphics, footage, templates, and a number of other different creative works. All of which you can use as long as you follow the Creative Comments guidelines. So if you're unsure about a piece of work, make sure that it's covered under creative comments or get permission from the copyright owner. If you wanted to use a well-known song, then it's highly unlikely that you'll actually be able to get the rights to that track. So I would advise against it. Try and stick with smaller songs that fall under Creative Commons. It's a good idea to try and avoid getting any copyrighted material used in your film. As I said before, this can be small things like music and graphics. But this can also extend to where you're filming, trying to avoid getting other things in your shot, like billboards and signs. This will be mentioned further in a later video. If you're not sure if something is covered by copyright, either contact the arena of that creative work or just don't use it at all. Now with that said, let's start getting creative and start creating the concepts for our films. 8. 2.1 - Module Introduction: Welcome to Module two. Old films start with a great idea, and that's what the second module is about. In this module, we'll go through all the stages in nothing than a solid and easy to understand idea. I discussed things like outcomes, different genres, and how this impacts the story. I also break down the story structures for different types of film which are used within the Hollywood industry. 9. 2.2 - Outcomes: Now let's focus on outcomes. So what is an outcome and how does it affect the story? So an outcome is basically the format in which you watch it. So this could be a TV show, or it could be a feature film. It could even be a TV commercial or music video. But before we move on, let's focus on the latter two. Those being TV commercials and music videos. Tv commercials and music videos can be harder to spot because they aren't always telling a narrative. You're looking for understandable characters and cleaned goal. So let's discuss a feature film. A feature film relies heavily on a good story to carry the film for 19 minutes or a couple of hours. So that's why it's important to have a clean three act structure. And within these 3X, you've got changes in the story that are hit with certain milestones along the way. Of course, you can break away from these three-act structures, but it's a good place to start when creating films. A TV show, on the other hand, is a bit more complicated. Tv shows are created by first creating what's called a pilot episode. This pilot is the first episode in the series. The reason why they only create one is that they'll create this pilot to show the various networks. And hopefully they like the idea enough so that they can fund the rest of the first season. I shall endeavor to live up to the upper suppression. Goodbye, Mr. Prejudice was the President. The reason why it's complicated is because you can't find out the full story in advance. You can only really create the first concept. That's usually who the people are. A basic rundown of the story and a loose idea of where you'll end up. But what you want to have is enough substance in the story and enough leeway so that you can change the story up if you need to, to change the direction or make the show continue on for an unknown amount of seasons. On the other hand, we have things like TV commercials, music videos, and short films, where you don't have enough time in the story for a three-act structure. And in these cases will have a shorter story told. In some cases, a payoff, which is usually something that's shed or an event. This would manifest itself joke or something chilling or scary. It can even be something heartwarming. And payoffs are important because they also play a part in larger films. You normally see these payoffs when the character is striving for something and has an end goal in mind, and they may or may not achieve this. Let's think about a small scene. This could be in any story format. Let's say it's an old lady and she wants to make a pie. And that's her goal. We could have different moments that prevents her from doing this. For example, maybe relatives come over and prevent that. Maybe there's pets that are getting in the way of her making the pipe. Maybe the phone call keeps ringing or she doesn't have the ingredients. So we're building smaller stories around this one goal. And we can find this in any type of narrative. Smaller versions of these can be found anywhere. And the audience is waiting to reach that one goal. So that's great. There's all these different ways of telling a story. So how does this affect you? For this course, I would recommend creating a short film. This is where you can flex your creative muscles and experiment and try different things on a smaller scale. I'd recommend when you take this course that you are also making a film alongside these steps. So don't just watch the video. Actually make your own content, make it as I do it. And then Newton go through the processes of making neuron film alongside me. And by the end of it, you'll hopefully have a great work of art which hopefully you can send off and get recognized by other people. 10. 2.3 - Genres: So let's talk about the genre. Most of us already know what a genre is, but you may not have thought how this affects the story. For those who don't know, the genre is basically the theme of the film. This could be a sci-fi, it could be a horror, it could be a drama, comedy. There's a large amount of different genres and there's also subgenres, which we'll break these down even more. If you're not sure what genre and you'd like to tackle, Think about your favourite film. Go online, Google your favourite film. And it shouldn't tell you that genre. Keep in mind only one person. And the films you like to watch, like the big Hollywood blockbusters, is not something that you can achieve. So how does genres effect the story? Well, for starters, it impacts the amount of emphasis that we put on each part of the story. For example, the story in an action film is a little less important than the action seen on screen. It's always important to have a strong foundation for the story, but there's usually point with the story becomes less important and put to the wayside just to focus on the action scene in the film. The islands had a girls best Memento. One thing action films have in common is some sort of climax that includes action and a lot of it. Gunfight, people dying, fast cuts and very, very little dialog. Where, you know, for many of these films have a clean protagonists that he's fighting for good and there will be a clear villain. These many times is your typical good versus bad story. On the other hand, dramas are all about the story. It's about creating those characters and that story that drives us throughout that film. And with these dramas, you wanna make it as relatable as possible so your audience can get the most out of that film as possible. Shine straight. I must have misunderstood you're giving your tech industry but the day and then getting married tomorrow. Dialogue is very important. With dramas, there tends to be less quick and fast cuts. And they use dialogue to further the story, as seen in this 1940 film, His Girl Friday, the characters tend to have more dimensioning and emotion. I admit I wasn't much of a husband, but you can count on me. I am protecting myself. They tend to be more willing to express their thoughts and feelings that focused on other attributes, such as action films, as stated before, should make some go real happy. And another example is horror films. Some poorly made horror films usually disregard the story altogether and just focused on things like jump scares. Trying just to scarce. I don't know what. But in my opinion, the films that do really well in the horizontal row are the ones that really use story to its advantage. The story can be used in creative ways with horror films, where you always pulled alone with the story almost unwillingly. It's that kind of tension which allows people to get joy out of this genre. They like the idea of not knowing what's coming next. And that's what makes a great horror, really great. When you don't know where it's going and you don't know what happens next. If we look at horror films like this one from the IDs, we can say common things that have lasted until today. For instance, the child with the ability to heat the supernatural and the caring mother fighting to find out what's wrong with her child. This tends to bait list dialogue and more focus on what isn't shown in the film. This is supported with dark, mysterious sliding, strong shadows and a day saturated appearance. This leaves the audience questioning and almost disturbed by what afflicts the characters. If we watch Boot Hill from the 19 sixties and old-school Spaghetti Western, we can say the cinema scope, wide-angle shots mixed with the trademark close up I and face shots. The language used is very Stock and to the point, they tend to talk in somewhat riddles. That's good advice. Enjoy your stupid animal. Sounds. When a dog is fly around here, he will say, or page of the confident outlaw hiding himself within his hat to add mystery. Nice. 11. We also hear the blunt riddle like language in my new don't like people live and it's the crazy idea you laugh at him. As mentioned before, it's important to discuss logistics. You might have your favorite action film or your favorite horror film. But at the end of the day, can you achieve it? Do you have the equipment necessary? Do you have the sets, the costumes, the actors necessary to pull it off? Chances are you don't, which is not a bad thing, use limitations to your benefit. Tell a story as best as you can with as little as you've got. And sometimes these can be the most memorable stories. But also consider what you're passionate about. Film can be a very long and tedious process. If you're not a 100% in with the story of trying to tell, you may not even finish it. See you in the next video. 11. 2.4 - Characters: Choosing characters can be very crucial when creating a film. Now it's important to know when I talk about the characters. I'm not talking about the actors that play those characters. I'm talking about the characters themselves and what makes up that character. I'm talking about all those human elements that are needed to create memorable and strong characters. So let's firstly focus on delayed characters. Now, as I said before, I'm not talking about the actors. I'm talking about the character itself, that you are rotting. The character is what moves the story forward. And they can be multiple laid characters. And so these lead characters is where you should put the most effort in creating the characters. Let me give you an example. Edward scissor hands, Edwards is a hands, is probably one of the most notable characters created in film. The reason was we could watch that film. And even though he couldn't speak, we knew what the character was thinking. If you can get your audience to understand that character and good film is halfway there. So when writing your character, think about when you look at a person in everyday life. How do you know what they're thinking? How does it face react? How do they stand? How did they dress? How do they interact with others? How did they talk? These are all very important elements when creating and character. And coming up. I'll break these down. Now let's talk about supporting roles. Again. I'm talking about the character itself, not the act up. Now the supporting character tends to have one single ago. And that's to assist the audience in understanding not the supporting character, but the main character. So the supporting characters goal is to interact with your main characters in a way so the audience can understand the main character a little bit better. Why? No, I don't believe I have any relatives over here. O again, I'm from America. America. America get out of my company that I know I'm speaking Japanese and I just take the whole purpose for that's supporting character in that film is to assist in the storytelling. We've delayed character. So this supporting characters express and portray different things to the main character. And the way that the lead character will react to the supporting character is assisting the audience in understanding the layed character and the story a little bit. American relations to threaten like this, I'd like to square that bill will show how much does that to palm stems. Very judgmental yet. So let's break down exactly what a memorable and strong character is. I like to define a strong character as a character that can be explained and can have a clear understanding of who they are in the very early stages of writing that story. If we refer back to Edward scissor hands, this is a story about a person with no understanding of the real world nor easy able to react within that world due to the fact he has seasons for hands. And all of the supporting characters that he reacts with. Their goal is to help us understand Edward Sousa hands. If we think about the same where he's cutting their hair. This is a clear example of where Edwards is a hands is getting traded differently. Special, almost exploited. This painting, a picture of the world as very selfish. People want what they want, and it's all about them. As long as I can get something out of this oddity that walks into their world than the happy. So you can see how they supporting characters. Pushing the story forward simply in their interactions with Edward scissor hands. That in itself is a very intriguing idea for a film. And all the characters are put there to help express the personality of Edward scissor hands. If you can clearly explained the character and how they react in the story that you're writing early on, you're halfway there. Sorry, how do you create a clear idea of the character apart from how they look, we need to break down their personality. So this is what I asked you to do. Pull out a piece of paper and start jotting down a few things. Think about the character you're trying to create. Think about basic things to start with, like their gender, their age. Why would this be important? Well, females look at the world completely different to the way males do. And these differences can be used within your story to help explain messages within that story, women tend to be portrayed as more empathetic, sensitive, and gentle. And men are usually portrayed as more protective, physical, and tend to have a stronger build. Women consider emotions and feelings more often, and men consider respect and reverence. And that brings us to another use of different characters within storytelling. Films use different characteristics as symbols to emphasize different elements of the story represented by different characters in film. Sure. So if you think I have any qualms about kilometers kid, you couldn't be more wrong. The man standing or the antagonist is being portrayed as the danger or the threat. Including information. The man sitting the sheriff is portrayed as a protector that offense and the strength of the same. The mother is shown as nurturing, comforting, and maternal. And the child represents the innocence, the naivety, and the weakness which both the mother and the sheriff and trying to protect in different ways. As this example shows, women tend to be more motherly, showing emotional strengths as men tend to show more outward strings. And the bigger question on hour later. But if I give the President a bit of an edge way than just they won't hurt pitch. He said so now it's important that I should mention. This doesn't mean that women can't show outward strengths. Norman, a softer side. It all depends on the story that you're trying to tell. It also depends on who your ladies. This can also be affected by the genre, the Italian historian, but film uses these differences to portray different elements and emotions within your film. I'll give you the gesture. You can also think about its setting. The people from different parts of the world think and react differently. So thinking about where it's located first is important when creating your story. Always look at real life and how that's portrayed it. Because when you can reflect back on real life, the audience is more willing to relate. Not weighed on managed. Again, age. Age not only affects the way a person thinks and reacts, but it also affects the way that the person is viewed within society. I think it's my duty to tell you, I mean, indica two young kids at an equity in this same a concern friend is contacting a father about his daughter that has gone on a road trip with a young man. This example shows a need to protect the younger people from danger, as well as looking at younger people as somewhat helpless and defenses are golden gleam reviewed America your legacy that would prevent Latvian and gave a partially companies in India. But then it wasn't him. As people grow up, they fall into different stereotypes. Some common stereotypes consists of things such as the carefree child, the student with expectations, the parents with responsibility, and the elderly with wisdom. These views stemmed from real life as throughout someone's life, their thoughts and expectations change due to their circumstances. No bad people. But Dr. happening there, that bread. For example, a 50-year-old man who has seen a lot of the world will look at the day-to-day. Very different to a 20-year-old, a 50-year-old. We'll be getting to the end of their career and would want to start slowing down as the 20-year-old will be the opposite. They're going to want to start their career. And they might have a drive and a passion for or maybe they don't. And that's interesting in itself. It's interesting to play with different ideas and say how that affects the story. And that's why I'm covering it at this early stage because it can really change the direction of the film. Another important point to mention is Schooling. Is the person well-educated or not? And how does this affect the person? Let's say a character went to a prestigious university or college that can affect the way they see the world. They could see the world as there is for the taking. And they're going to do whatever they can to achieve their goals. Or in that environment, they might think they're too good to have too big for a job or work hard. And they almost expect a job to be given to them. Or there might be a character that lives on the straight. And the character might hate the world and have no motivation. Or on the other hand, someone who lives on the street might have that passion. They want to do more than their parents before them. They might want to do whatever they can to climb up that financial ladder and create a new life for themselves and their family. Thinking of these things early on can help you develop your story. Some other earliest things to mention, what is the personality of a funny? Are they more serious? Are they driven? Or as I bit more laid back and a bit lazy? How did they react with paper? Are they friendly to people? Are they mean to people? Today? Ignore people altogether? And the other important thing to mention is, what are the stresses and mores and what do they enjoyments? He say, stress is a large part of the human psyche and it affects people in many different ways. Let's go back to the person living on the streets. This person might be very stressed. This affects the way they look at the world and react within it. Being in this headspace might push them into things like gangs, things that are very negative for the world. Or as mentioned before, this might push them into more productive, more passionate and positive area for themselves and society. Understanding their stresses and where this will push them, will really help your story. And if you know something stresses your character, you can use that stress as a somewhat trigger point within your film and can be something that's very interesting to play with. What are their enjoyments and others enjoyments, negative or positive. These enjoyments might be smoking, drinking, things that have the chance to be very negative for that person, or other enjoyments. Simple things like seeing a movie, going to a carnival, surfing, playing sports. A whole array of things which can help you tell your story. I suggest writing these things down, state all these different traits and the triggers within them. Because if you can understand how that person ticks, you will be able to tell a story a lot more clearer and a lot more successful. Now I know it sounds like a lot of what ifs, and you might already know what happens in your story. But knowing how your characters think and act can really help you when moving forward with your story in the filmmaking process. 12. 2.5 - Story breakdown for Feature Films: So now who's thought about our characters? Let's talk about our story. But before we move on, we need to understand the story that we're trying to tell at this early stage. This doesn't mean a word by word, or same busing breakdown or a script that's not important at this stage. So to better understand the story and how it will unfold, we need to better understand the structure that films use to tell that story. Over the past century, there's been some conventions and templates created on how a story in a feature film will unfold. This is known as the story up. The story OK, can be physically represented by this curve, which illustrates the rise and fall of tension and drama throughout the movie. Along this curve, specific events take place in certain points along the timeline. Once you understand this structure, you'll soon start to spot them in all sorts of films in a variety of different genres. So let's break down the structure and what's included at each point along the timeline. It all starts at the beginning of the film, which is also known as the setup. This is where we learn important details about our character and the setting. This can include things such as the location, time, important character information for both the protagonist and the antagonist. Along with supporting characters. This is information such as age, next, profession, and any other information in the previous video about characters. Once we've set up the film and the audience have a clear understanding of the characters and the setting. We then kick the story into gear. This is with the inciting incident. In layman's terms, this is the issue that the protagonist faces. The goal or anything else that may care for the protagonist to plan, follow, or achieve. This will also include the antagonist, which we'll plan to achieve their own set of goals, which is usually negative for the protagonist and the story we're telling you. Once this is clearly explained and we understand the goals that delayed characters a striving for. Then we have a reaction point where the protagonist reacts in this situation. This can also be known as the second thoughts or turning point. For instance, if the character was going on an adventure, then this is how the character reacts in that new landscape. Or if they're trying to achieve a goal, then the character will start expanding on the details on how to achieve that goal. Then we reach a midpoint. There is usually obstacles faced before and after within act to, we can also say in what's known as a pinch, which is a slowdown of the story and a break so the audience can have a breathe up before the story continues. This can be portrayed very well in Japanese animations. If we think about a film from studio jubilee, they use what's known as MA, these small breaks in the story where the film slows down. And as I said before, it's a chance for the audience to brave. But this doesn't mean that the story grants to hold. These are good chances for the audience to understand the character better. This could be a moment where two characters are talking and they're having a sentimental moment. These points are perfect to understand the characters more and help get the audience invested in these characters. But the specifics of these change depending on the story being told. Moving back to this midpoint, the characters would have overcome some obstacles. And at this point, the sex are usually raised. And the story expanded, complications tend to appear and following this point, tensions will increase. This is where a second plot point can be added. Moving forward, we hit a stage of crisis, major setbacks or disaster. This is the point where all seems lost. This is usually the lowest point for the protagonist and the story. And this is where other characters can affect your protagonist in sometimes getting angry or walking away from the main character. In other films, this might be shine as a character being kidnapped or even killed during the protagonist to exact revenge, this point can be shown in various different ways, but the common thread is disheartened and the feeling that all is lost. This leads to the point that the film is being lading to the climax, the great battle, the final push, the point of highest emotion. Many films usually include the highest amount of action at this point and the pace will be fastest at this stage. And then we finally reached the conclusion of the film, where the film is wrapped up and normality found. This can include array nodding of characters and a focus on the future to imply a happy ending or a continuation of the story in a positive manner. At this point, usually the characters would have grown as a person and learn from their experience. Now let's move on and define those three acts. Like mentioned before. Usually a film is broken into three acts, 123. And this is derived from theta, where they would have different acts within the story. So this structure that we just touched on is split up into these three acts and has certain elements, emotions and needs, which should be included. The first act focuses on the setup of the film. By the end of the app, we would have a clear understanding of the character and the goals. The second night is what's known as the rising action, all the confrontation, the characters will start to learn and develop his paper. This creating a separate character arc, which I'll mention in a future video, where they'll learn something or grow as a person. The tension will gradually build along with the story for this act, where situations will worsen, more complications and obstacles will appear. This leading up to the third act, focusing on the climax, there's usually a point of reckoning. We're old tensions reach their highest peak. Following this climax, there is a sudden slowdown with a plot points will be resolved and characters will have learned in burn from they experienced this wrapping up both the character and story arcs. A small thing to remember is a change of act. Can also see a change of pace and a twist in the story. Newport points can be added and the occasional character included, as I mentioned before, this three-act structure focuses on feature films, TV shows, a very different and so shorter things, like short films and TV commercials. These, I'll touch on in the next video. So let's sum up these three oxygen. We have the setup, which is where we get introduced to our lead characters. They location, and if they've got any issues, then we start to follow them on their journey or their issues. We didn't get to the confrontation stage where tensions will increase, problems will start to appear and the characters start to evolve and learn as Paypal. And then we finished on the resolution stage where we type always since leaving, no questions on the table. It's important to include points of slow attention. You want these pins, points where people can breathe and take a step back from the story. And in these points, you can lend to understand the characters a bit more, adding small moments where the characters are allowed to feel emotion and interact with others in a sentimental way. Now as I said, every film is different and the story structure will be different for every film. You can use these points that I've told you. But use these points as a guard and make sure if you have to change it up a little bit. Did you can now let's move on where we can talk about short films and TV commercials, how we can tell stories for shorter formats. Say in the next one. 13. 2.5 ASSIGNMENT | PART 1: Here are some worksheets and resources credit to help you with this lesson in the module. Welcome to your very first assignment for this course, we're going to start with the very simple assignment. This is by going through the processes of H of the story points and coming up with your endpoints for H, urine story. And thinking of certain story points that fit within one of these elements. There's a few documents supplied. The first one is a printable option like this one here, and it's in us lead us settings. So if you in the US and you, and you print on paper, you use the US led us settings. If you're international, you would use the you would use this document here which is a A4 size. So it's a more of a standard size which most of us would be used to if you're not in the us, otherwise you've got that size there. But if you don't want to print it, I also have a digital version where you can type straight into each of the boxes, like so. And, and that's an easy way of working. But the printable options are they if you'd prefer to print them, then you can do that. So it's a quick exercise transplant a little bit of time on it transplant maybe half an hour on or if you need to spend longer, that's fine too. But really take you time to think about each one of these points. Now for this course, you're most likely not going to be making a feature film. So this is almost an exercise more than anything. This won't necessarily get used in your final product which you'll be making throughout this course and the other courses if you decide to do though is, but you can still go through this process and start going through that thought process of what you would include if you were to create a feature film for each one of these points. So you start simply by going into here and think about what you want to, what you want to start with. So for example, you start off with whoever your characters are, Bob and Mary. You just discuss a little bit about them. Live in a rural town and just start explaining the setting all, all, all the who, what, when, where, so where are they? Who are they? What do they do? All of those beginning or setting points, because that's really what you want to start with here. And then you move onto the inciting incident. What happens in their life to set them on the trajectory of the story. So maybe Bob loses his job. These, I'm doing very, very basic version descriptions. I would suggest doing a lot better than this. This is just I can move through it quickly, but make sure that you are spending the time to write decent descriptions. And if this isn't enough space here, then feel free to create a Word document or something and just Still the same headings and just describe it in more detail. Don't, don't be afraid of detail. You can go into more detail if you like. And I've also put up on the graph here some reference points. So you can say a sort of very stylized representation of the rise and fall of tensions. So you start off with the beginning point and then it moves on to the inciting incident, reaction point, midpoint crisis. Finally to the climax and the end. I would say spend the most time he can on the, on the beginning point because that's a very important point. Then make sure you've got a strong wrap-up and ending. You also wanna make sure your climax is reaches the highest point of immersion or whatever that driving forces in your story. So if it's an action and the driving force is obviously the tension of the action in that kind of thing, then that's your focus. If it's a romantic film, then you focusing on the couple getting together finally, or whatever it might be. But you really want to be focusing as best as you can on, on, on what these points mean in the overall story. So let's say it is a story about Bob and Mary. And Bob and Mary, bob loses his job and they struggled to pay the bills. So maybe that's what's in the reaction point. He's struggling to pay bills and they might get evicted. And he's trying to find a new job and it's getting really hard. And then we move to the mid-point and then we've got some real issues now or maybe the the the landlord won't want to kick them out and it's getting really tough for them. Missing is getting rejected all the time. Mary's having a hard time socially with their friends than we reach across as point Mary's had enough and she's she's decided to leave him because she can't hack it anymore, she can't handle it. It's become too much pressure. Bob is packing up the boxes because they're getting kicked out and this is the end. So he hasn't got his he's also he's always lost his job. He's lost his his girlfriend or wife, and he's lost his house and it's really in a tough time right now. And then it read, then it can reach the climax point. So let's say you had a goal and worked at earlier on that his goal was to become to chase his perfect dream job that he's always had, always wanted to be, let's say you wanted to be a journalist and that was his dream. But he had this one big chance. He had this one big opportunity where you could go and speak to newspaper company and they want to considering putting on board so that so then that focus there would be the focus of him going and finally getting that interview. And so the climax will be focused, would be like an emotional climax of him having his interview. Maybe he can have an asthma monologue scene there. And he's, he comes in and he said, look, I came here to play it for a job because I'm really, everything's falling apart of my life. But I've hit this point now I've hit this wall where I'm just going to be real with you and I'm just going to put it out there. If you want to hire me, you can. If not, then we can go to the wrap up here where it could be something, for example, Mary decides to come back, but Bob decides No, actually, I think I'm you walked out on me in a dark times and bad times. I think I'm going to start afresh, I'm going to start a new and, and I'm going to start this new dream job that I got given a high paying job, I'm going to move and when leaving the city, I'm going to start this new life for me and everything is great. So that's just an idea of how to think about it, right? Pretty much what I discussed in a bit more detail. So think of your own story. This is more of an exercise in anything. So maybe, maybe one day in the future, you could probably actually turn this into a feature film. But while you still honing in your filmmaking skills, you can go through this process, learn these skills, still make a short film, but you can keep this if you are on the back burner and maybe a few years down the track, you can actually make it. So go ahead and do it yourself. You can use this for reference. As I said, if this isn't enough space for you, then feel free to create your own word document pages document, and then type it out there. But use this as the reference and make sure that you're hitting each one of these points in this order. And think about how each one leads on to the next, because that's probably an important point to think about. So I'll be excited to see what she can come up with. So with that said go and give it a go and hopefully it'll be helpful for you. All the files can be saved in the file structure I gave you at the beginning of the course. You can use these PDFs and fill out the documents which will help you create your own films. So be sure to download these resources as they can really help you with your filmmaking journey. 14. 2.6 - Story breakdown for Short Films: So let's talk about shorter films and different formats that we can use for these stories. So let's focus on the aforementioned payoff. This is a good method for a shorter film, such as the TV commercial or a short film. It can be confusing sometimes to understand the importance of the story when we're talking about TV commercials, which could be 60 seconds, 30 seconds, or 15 seconds. As I mentioned before, not all TV commercials use a narrative. The ones that do can use story in creative ways to sell a product or a brand. This is a small way of tying up the story for the character and the audience. Most films will be lading somewhere. And it's important to remember shorter form content like this, which could be a TV commercial, short film or music video. In order to be narrative, they need to have a beginning, middle, and an end. Now this doesn't mean that the end of the video can't have a feeling of continuation, but you wouldn't. Emotion is felt by the audience and the characters to have an emotional ending. This could be ending the video with a feeling of hope or continuation, with the audience still getting an emotional feeling of closure and an ending. Another example might be a short film. Short films use payoffs in a very similar way. However, they aren't restricted by the length of a TV commercial. They can build on this story before we see the payoff. In many cases, making it more humorous or satisfying. If we touch on what these payoffs might be. It might be an event that happens towards the end of the film. This might be something that makes you laugh like a jerk. Maybe the film has been building towards this joke. It might be a horrifying event that happens. Try and think creatively how you can use this. It can be used in many different ways, but it's important to understand what this payoff will be before moving on to the next stage. Not old films use payoff, however, some short films use this story as a concept pace where they start telling a story, but leave it open-ended to give the impression of a longer story, filmmakers can use these shorter films to get their firms funded when pitching for a TV series or film, The shortly I have made can be used as a proof of concept to show investors both the creative vision and the ability of the filmmaker. And this can go a long way in helping to get your film funded. Other short films can tell a fully enclosed story, which can tell us smallest story that doesn't use payoffs, nor is it open-ended. Usually with a small character arc focusing on a smaller yet cohesive story, which will have a full beginning, middle, and end. Many of these stories can be hot, warming, or emotional. When creating a short film, you can use any story format, however, it can be abstract, nonlinear. Just remember that narratives need to have a clear beginning, middle, and end. The one thing to take away when slowly developing your skills in filmmaking. Just think about the scene. What are you trying to achieve? What are the emotional elements of that scene? And have this the same fit, the widest story. The point of any story, whether it's a larger film or smallest film, is to keep the story moving. You want to make sure that the scenes you've included have a purpose being there and that they're furthering the story. Again, if we include those breaks, as I mentioned in an earlier video, breaks, these pinches, this map, again is there to show the audience more information about that character. So it's okay to include slowest scenes. The film doesn't always have to be go-go, go. Just try and stay true to the story you are trying to tell and don't overcomplicate things. So as a quick summary, feature films would tend to follow a large story arc where the tensions will raise and fall. Shorter films can also have tension, but you'd storytelling is a lot smaller and it's usually building for someone. Often a payoff. As I also mentioned in an earlier video, payoffs are also included in a different way in feature films, which is usually represented as a small ago that a character is trying to achieve all the audience themselves, uh, trying to sum up in their mind. But having clearly defined Beginning, Middle, and n's can really help you when moving forward. Use the worksheets that have been given for both of these lessons as a guide to plan out what's going to happen in your story. Because these methods are tried and true and we'll put you on a good trajectory to making strong films. As a filmmaker. 15. 2.6 ASSIGNMENT | PART 2: Here are some worksheets and resources created to help you with this lesson in the module. Hello and welcome to this next assignment. This next assignment is similar to the first one we just did. Hopefully you've done it, make sure you have completed that last assignment. This one is focusing now on short films. So this is more applicable to the project that you'll be completing throughout this course. So this is where we start off with making sure we have the basics down of the story that we want to tell. And that is focusing on what is the beginning, middle, and end. The main three points of any story that gets told. And this is all stories full stops. So not only screen-based stories, but also other stories like him on books or whatever might be a story by definition needs to have a beginning, middle, and an end. That doesn't mean that we can't play with that and have an open-ended ending or something like that. But it's really understanding these three points and how you can play with them to get the final story that you want to get. So again, we've got the three different types provided. We've got the US letter, we've got a digital version and we've also got a A4 version. So if we go to the digital version here, here we can state debt some information. We can just type it in just like we could before. So so you can start by this. So you start off with your lead characters, whoever that might be. Let's say we've got Bob and Mary again, we're gonna make a smaller version of the story that I used as an example in the last assignment. Location, rural, town. And you can go and be more detail if you've actually gotten a location, for example, fake village based in fake Ville, spaced in the woods. The house is a weather board has or something like that. Can't even spell banana or something like that. So you just explain exactly all the information you want and it doesn't have to be in point form if it easy you can, otherwise you can go into more detail, explaining in more detail. If you can. Again, copy and paste these, if you have to input them into a new document. When you submit this, if you decide to swim in this yoke, you'll have to copy and paste them out of here anyway, just because that's how the submission process works. So when you do submit it, you can select, you can select each point, copy it, and paste it straight into the submission textbox. And then we need to find an issue. So every story that gets told, we always need something that they're going after. What are they going after? What is their goal? Does something go wrong? Or is there something that I want? And it can be really simple stuff. It doesn't have to be complicated at all. For example, it could just be chicken cross the road story in the, in the chicken wants to get across that road. But there's all these obstacles in the way and all these funny things might happen on the way to try and cross the road. So it can be quite simple. But as long as the audience understands where, where they want to end up, uh, where they going, that's the main point. Then you can go in the middle. So what happens in the middle? So let's see if we change this story too. To the chicken. Let's do the chicken crossed the road, story, busy city road. And then the chicken once to cross the road trying to be more d tau. This is obviously just so I can fly through it in this explanation, but make sure you try and put more detail into it. And the middle, what might happen? So what are things that might happen in our he misses car? Or maybe there's a heed, he trips in a part, a pothole, or maybe he gets caught on a bicycle wheel. All the different things that might happen to get across the road. And all these funny things will keep happening until eventually they get to the other side. So what's the payoff? Maybe he gets to the other side. Maybe he realized he accidentally did a whole 100 AD and ended up in the exact same side that goes on in the first place. So all little funny things like this and that's just an example. Use this opportunity to really think about the story that you want to tell in this course in order the same bar scene breakdown. So don't try and be that specific. It's just about understanding the basics of whoever one is, where you are, and where they're going and then what are some of the overall things that happen? Don't get into too much detail, don't get carried away because we're not at that stage yet. We will get to the stage where we can get into all the nitty gritty. But don't, don't jump ahead of yourself on this because you just going to get yourself stuck in, in a position where when we do get to those stages, you might have, you might have to double back in and change some things and it gets really difficult from there. So I make sure that you are just trying to keep it quite simple. But again, you can, you can explain a little bit about your chicken character. In the chicken characters White and has a, has some black feathers on it. Just to explain a little bit more like that location. How many lanes are there, but maybe there's four lanes, two lanes. Explain a little bit more about that. And then YZ crossing the road, OK, maybe you can see a photo of a good-looking chicken he wants to meet up with or something like that. Or it could be a number of things can fill this out and then if there is a payoff now, not all stories, as I mentioned, have a payoff. It might just be an open-ended story, could just be a well-rounded story. But if you do have that pay off, whether it's a comical one or if it's more of a sentimental payoff, whatever it might be to try and make sure that you spend some time fill this out. If you need to use a word document, then he can submit what you've written on each one of these. You can copy and paste those into the text box for the submission. And submit it that way. So say hey go. And hopefully it can help you on your own film. All the files can be saved in the file structure I gave you at the beginning of the course. You can use these PDFs and fill out the documents which will help you create your own films. So be sure to download these resources as they can really help you with your filmmaking journey. 16. 2.7 - Character Arcs: So let's talk about the character, OK. Character arcs are very important because the reason that we're following the story, we want to be out and relate to some level with the characters that were portraying on screen. This means we need to understand the vulnerabilities of that character. The goals. They, once they floors and we wanna follow the journey as they grow, change, become bitter people normally in the story. So let's start breaking down what we'd say in a character I. Now every main character will have their own character arcs that will be unique for that character. All the characters on screen have different personalities, different ones, different beliefs. Having separate character arcs for these characters means that we can follow different characters within that film for different reasons. And we don't look at all the characters as the same. And this has a better chance of the audience being able to relate if you've got different characters with different personalities, this means one audience might relate beta 21 character than the other. And character arcs usually have their own trajectory. Laid characters will tend to evolve around the same pace as the story. Ok? But this isn't always the case. You call me name. So we start off with the character setup, very similar to the story, OK? Where we learn through the character sees what they do, what are their beliefs? What are they once? What is their personality? This is where we want to learn all the important traits of that character. So moving forward in the story, we know what to look out for. We know what makes them tick. We understand that character. Try not to make the character is so complicated that you can't easily explain them in this first stage, think about any film, maybe Lord of the Rings. This takes its time at the set-up stage where we can really understand these characters. There is no rational story. It takes its time so that we can say how these characters react in the same way. We can learn about the characters once the drawbacks and we'd find out who we want to root for. Moving on, we then found out what they call this H character might have different goals for there are indifferent reasons and why they want to achieve them. So think about age specific character and the reason why they are going on that journey while they're fighting that evil. A lot of them might have different reasons. For instance, let's say that I want to get the bad guy. One character might want to get the bad god because he killed a family member or you're hurt someone in near. The other character might do it to support his friend. Or maybe he's a bit noble and he thinks it's the right thing to do. Every character will have their own reasons for it. And you can play with this as they grow as a person. But at this stage we want to know the drawbacks of our characters. Because as I moved throughout there, OK, we want to see some growth within that character. We want to see them change and become, in most cases a better person. But in some cases, not always in the case of a film like The Joker, where we saw him deteriorate and become a worse person. But at least we were able to understand why. And it's all about understanding the reasons why they character is this way. This is also the case for any antagonists you've got, we wanted to understand why they're doing, what they're doing, even if they are bad people, we want to at least at some level, relate to what they're doing and why they're thinking that way. Moving on, we reached the characters, obstacles. This is things that we'll face and things they're going to have to overcome. This could be physical obstacles which will affect their emotional state. So let's say they got captured. This will affect their emotional state, where they start to learn from the experience and grow as people. This could be emotional obstacles, things that are stopping them from moving forward. For example, this might be a fee that is God and they have to overcome that fear. Or it could be a prejudice that God and they have to overcome that prejudice. There's many different ways of looking at these obstacles. But these obstacles are the catalysts for learning and growing as a person. And that takes us to the next stage, the characters growth. This is where they clearly learning from the obstacles and the setbacks in the story. And they stopped developing in their own way and learning in their own way. Again, every character is different and that brings us to the characters outcome. This is where we wrap up there. Ok, they've started their journey. They've grown that blend, and they're now a new person. And we can finish the story knowing that it's ended in a better place from when it started. And this helps with the resolution of the film. And in some cases we can see parallels in the character arc, where, for example, they might learn to live with each other's differences or the amount of land that they can live. Antagonist after all. And that the antagonist mode of just Spain misunderstood something like that. But you want to make sure that there's clique character growth and that they all learning throughout their journey and age character will have their own character arcs that have their own once they have their own beliefs and they have their own journeys that they're going on. So when telling your own story through film, makes sure that the character arcs a CLIA and unique for each character. 17. 2.7 ASSIGNMENT | PART 3: Here are some worksheets and resources created to help you with this lesson in the module. Hello and welcome to this next assignment. In this assignment, we're going to start structuring our characters and more specifically, the journey that I characters go on, the story itself and the characters almost two separate identities, so they go into separate journeys. There is the journey of the full story, what happens in the story? And that's quite objective. There's, it's quite simple exactly what goes on in the story. A character will do this and then this will happen and a series of things will occur within that story. And that's an, that's an objective view. But then we get up to this stage, which is the characters. And the characters will go on their own journeys. And this is where we start to get a bit more subjective. So what I mean by that is that it's not as tactile. The journey that I go on will be different and it can be interpreted in different ways. But usually we can see growth of some description of those characters. And it's not always so Bloomington and out there and easy to explain. And this is where we start to see more discussions about how a character would behave or feel. This is where we will start to get into that psychology of the characters a bit more. Where the first part of it, the story arcs quite simple. We know what the characters are doing and what's going on in the story. But in this one the growth is less surface. So for example, if we look at he, we can do some basic stuff. So I put in the name, gender, age. The basic sort of stuff to start with, what this means is if you've got multiple main characters, so you might have one, you might have to, whoever your main characters are. You can repeat this process for those main characters. So you just fill out their names. And then we can start going into each one of these sections and flushing out what we want the journey of the characters to be. This is o u. So this is where you can start to come up with your own creative vision for this. And try and work out how the characters would feel at those moments and making sure that the journey they're going on there is that growth to it and there is that the learning process, H story must have some sort of growth to it. Now when I say growth doesn't always necessarily mean for the better it could be for the worse. Sometimes characters might end up in a worse place. And I started with, so that's not necessarily growth, but there is that change. So for example, if you've got a character, let's just put in some Falstaff. Hi BOB, male. And he's age is, let's say 35. And then we can start filling in some other stuff. So the set up here. So who easy when we start with, when we start with and we know who we use. Maybe he's a working class man. He's happy doing his work. He goes to work, comes home, he's happy. But then when we have the inciting incident, that's when we need understand his goals a bit more. Maybe he's maybe if we dig down a bit, a bit deeper, the reset yearning, he wants to become a journalist. That's his passion. So if we stick him with the story, the example I gave in the last assignment, we'll stick with that and sort of imagined what would fill in for each one of these. So for the goal, maybe he's got that yearning. He wants to do better. He wants to be better. He wants to earn more money. He wants to be more successful. He wants to be more useful to society. And maybe he's just working at a, you know, he's just maybe he's just packing shells and it's really not happy with that, but he's, he's happy in terms that is healthy and his colleagues. Partner Mary, but he still yearns for more. So what are the obstacles? Will obviously we know what some of these might be, and this is how it relates to the overall story. So the overall story, he loses his job. So that will again cause some issues, that will cause some psychological obstacles. So obviously his goal is he wants to do this. So obviously he's goal is he wants to be journalists. Well, it's a bit hard to do that when you're unsure about everything that's going on in your life, you might not have a safe roof over your head. You might not have a lot of things that we'll be issues in that person's life. Obstacles. There might even be self worth, maybe it's inner obstacles there. You just don't feel that you're worth it or you deserve it. There's, there's a number of obstacles that someone could hit. And they're not always physical, they can be inner obstacles. Maybe they've got a bias there gotta prejudice, or maybe they've got a fear and I have to overcome that fear. And there's a number of different things, different obstacles I'd have to overcome. And the growth is obviously overcoming those obstacles. So if it is that fear, maybe he, he, he learns to discover what he's self-worth is and that he actually is good at what he wants to do and he's willing to fight for it. And, and the growth Hussein, that change over the period of your film. And the outcome is where they end up. So if we started here, he was packing shelves and use yearning, yearning for more, then we come down to the outcome and the outcome might pay that he's, you know, he's got a new life in the city and he's working as a journalist and he's, he's found himself a better life for himself and he he worked out he worked out in a hard way that he's partner Mary was wasn't really didn't really love him for him. And so he was able to learn and grow from that, sort of shed that burden that either use feelings throughout the film, he was able to sort of become a better person for it. And so when I say becomes a better person and we see he finds itself in a better life. But that's also a personal development also. So it is growing as a person learning to understand some difficulties in life or learning, to be a better person or accept things that are out of our control or accepting, finding out what our flaws arm working hard to try and avoid those flaws and all of these different things that exist within human psyche is everything that we wanted to look at for all this stuff. So hopefully that makes sense. Say hey go Chan, fill this outfit. The amount of main characters you've got. If you've got to do two of these, if you've got one, do one of these, fill it out. Again, you can supply all this stuff. So copy and paste the text. If you weren't, you can take a, take a photo of this or excited out as an image and upload the image. And you can read it from there whatever way works for you. So hopefully you can find this helpful. So say Hey, go, all the files can be saved in the file structure I gave you at the beginning of the course. You can use these PDFs and fill out the documents which will help you create your own films. So be sure to download these resources as they can really help you with your filmmaking journey. 18. Class Summary: Congratulations, you've now completed this module. Make sure that you've gone through and you've completed all the additional tasks. Hopefully you found this helpful. Once you feel you're ready to move on, I would recommend taking the continuation module, creating a film can be worthwhile in many different ways. And you can take so much away from it. And I'd like to finish up by just saying, thank you so much, and I really hope. So this has educated and inspired you to create your own films. So don't be afraid to chase your own dreams. And just remember that anything is possible with that said, this is your chance to shine, to go. They amazing.