July 13, 2007 at 9:06 pm #305830
EmuSlayerParticipantJuly 13, 2007 at 9:08 pm #305831
KrickParticipantJuly 13, 2007 at 9:13 pm #305833
Well, there is a Scriptwriting Tutorial in the Encyclopedia, but that’s more about the mechanical parts of scriptwriting, not the actual story.
As Krick said, draw inspiration from other works, but don’t copy them, like Eragon did. Make a story you would enjoy watching in a film, and if you don’t like it, then others probably won’t either.July 13, 2007 at 9:21 pm #305837
EmuSlayerParticipantJuly 13, 2007 at 9:28 pm #305840
“Nick Durron” wrote: As Krick said, draw inspiration from other works, but don’t copy them, like Eragon did.
No kidding. I only saw the movie, didn’t read the books; but in the movie at least, the whole thing was just cribbed together from other sources. It was actually kinda fun to identify all the different places they stole from… but that was about it.
Hmm… maybe a Eragon spoof brickfilm would be fun…
“For the glory of Pern!!! …Er, I mean… what are we calling this world again?”
…but that would requiring watching Eragon more than once, which just doesn’t seem worth it.July 13, 2007 at 9:31 pm #305841
matiasParticipantJuly 13, 2007 at 10:10 pm #305850
Celtx is quite a handy program for script writing. Just start writing and hopefully the inspiration comes along the way.July 13, 2007 at 10:33 pm #305861
matiasParticipantJuly 13, 2007 at 11:46 pm #305887
Nick DurronParticipantJuly 13, 2007 at 11:56 pm #305890
An Old OreParticipant
It sounds a bit old, but it’s true – ask “what’s my motivation?” for the characters.
If you have a ‘bad guy’ who is bad for the sake of being bad, then he’ll seem two dimensional, or basically fake. If he has a reason for being ‘bad’ then it gives the character more depth.
Same for the ‘hero’. He shouldn’t go save the girl just because she’s a girl and happens to need saving. He should have a reason for it.If there is a corrupt policeman, why is he corrupt? If there is someone trying to take over the world, why is he / she trying to take over the world? Always ask that question – why? why? why? why?
However, because most brickfilms are only a few minutes long, it becomes vital that you remove anything from your script that isn’t moving the story forward. If your hero is on a great quest, don’t stop and do little side quests that won’t get him closer to his eventual goal.
Every scene has to have a reason for being there. If you have a scene where the hero walks out the door to the mailbox, gets the mail and then walks back to the house – how is that moving the story forward? You’ll have about 30 seconds of walking and the audience getting bored. You could have a three-second shot of him standing next to the letterbox, look at the mail and exclaim ‘Oh No!’ or ‘Oh Yes!’ depending on whether the news was good or bad.
The last thing I’ll mention isn’t related to the script, but is related to telling the story: dialogue. If your ‘actor’ can only stand there with a smile on it’s face, you have to use the voice to portray the emotion. Don’t deliver the dialogue with a monotone ‘ohnoIamsoangrythatIcouldscream’ – it doesn’t work. It sounds more like a statement rather than an expression of emotion. It should be spoken more like ‘Oh no! I am so ANGRY that I could SCREAM‘
Or better yet, just have the performer actually scream in rage. Show, rather than tell.
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