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Your parameters may show that your material is character driven. The idea may even supplement
this notion. But in the end, when you are not careful with the way you construct your events within the structural flow
of the outline, you might end up with a story driven outline or a non-narrative structure.
This
is a common error for both beginners and veterans. I must confess, sometimes, I also make the same mistake.But what is
important is that you are able to recognize the mistake and come up with the needed adjustments. Perhaps, the mistake
itself will give you that insight that maybe... just maybe, the material works better as a character driven material rather
than a story driven construct.
As
a reminder, it is important to have an open mind and a brave heart. I mean, we all make mistakes and these mistakes
should never stop us from experimenting, inventing and innovating in both the creative and technical dimensions of material
development and management.
Mistakes
should be corrected. That is the bottomline! Not recognizing that you made a mistake will only lead to more mistakes.
Never convince yourself that you know everything, rather, just be confident with what you have. In the long run, correcting
one's mistakes will lead to better analysis and construction.
Do
not forget that you are the writer and not the written text. You are the power behind the characters, stories and conflicts.
Be firm in handling your structural flow. Do not let events, situations or disturbances control this power. In
the short term, a perfectionist will revise and revise without knowing what he or she wants or needs. This is not a
smart move. Always look at the long term, be a perfectionist who revises because he or she knows what he or she needs
or wants.
The
structural flow is the force. The force is as good as the one who trust it. Trust the force.
Scriptwriting Tutorial : Southeast Asian Thriller
Intermediate Material and Screenplay Development & Management
Constructing A Southeast
Asian Thriller
Digital Movie Application - Narrative (Short/Short Feature/Feature)
CreativeTutorial starts February
2009 . limited slots / controlled group
register through this number 09215081060
Parameters of the Workshop:
1.
Intermediate Material and Screenplay Development and Management
Creative Workshop pertains to the structural and integral
relationship
between
premise and genre.
2. The workshop will tackle Southeast Asian Thriller as
a qualified genre.
3. Because of the limited space of the venue, the Writer's Project
will only accept 6 participants.
4.
The Output is a Working Outline for a Digital Movie Feature (90
minutes or 1hour/30mins). The Working Outline refers to
a complete
narrative material with 8 movements written on one page.
5. Note: the profile of the lecturer is included
in the e-group
files.
Schedule/Venue
1. February 2009. limited slots / controlled group
2. 5 Sessions
Payment
Scheme:
1. The fee is 5,500 pesos
2. 50% down on the 1st day, 25% on the 2nd day and 25% on the 3rd day
3. Participants
who will pay the full amount on the first day will
only pay 5,000 pesos.
1. Text this mobile no and send the following:

Basic Scriptwriting Workshop Attended
 Name
 Address
 Landline
The above information
should be complete and is subject to
verification.
2 The text message that you sent will serve as your registration.
Workshop
Outline:
3rd Intermediate Material and Screenplay Development &
Management Tutorial
Southeast Asian Thriller : Qualified Genre
Digital
Movie Application - Narrative (Short/Short Feature/Feature)
Creative Tutorial February
2009
Day 01 : Qualified Genre : Southeast Asian Thriller
1. Definition
2. Genre Structure
3. Genre Components
Day
02 : Premise
1. Definition
2. Premise Structure
3. Premise Components
Day 03 : Premise vs. Genre
1. Structural
Relationship
2. Relationship Between Components
3. Written Exercise A
Day 04: Outline : 8 Movements Method
1.
Definition
2. Structure
3. Components
4. Theoretical Integration
5. Constructing the Diagram
6. Execution
7.
Written Exercise B
Day 05: Outline vs. Sequence Treatment & Screenplay
1. Theoretical Integration
2. Constructing
the Diagram
3. Execution
4. Final Evaluation of the Working Outline
Digital Movie Scriptwriters construct materials
and scripts based onthe potentials and limitations of the Science and Technology of the Digital Movie Industry and Market.
Click this website and join
Makikipagpatayan ka kapag
nilalait ang pelikula o show na kung saan brainstormer? Tama ba yon? Eh sa allowance mo pa lang kulang na sa isang
linggo. Baka kailangan mo pang mangutang sa nanay o sa tatay mong empleyado sa Dept. Education.
Fresh
graduate ka, yung short film mo sa peeyups pinuri ng mga manunuri... pero nasaan ka ngayon? Sinisigawan ng isang
creative manager na bopols sa acads at nakapasok lang kasi syota ng boss mong tibo.
Anyway, brainstormer ka,
halos gabi-gabi na lang nag-iisip ka ng ideas. The following day, bitbit mo ang folder with the hope to become one of
the greatest writers or directors in the universe then suddenly sabi ng creative manager... Ay! Indy Yan! Indy Puede!
Nakuh,
saan ba graduate itong lintek na putang-kwak kwak na creative manager na ito... malalaman mo, pasang awa ang thesis film niya
at isa siya sa mga gustong sumapak sa iyo dahil ang yabang ng resume mo. Makikipagpatayan ka pa ba?
Minsan, kaya
ka inaapi kasi makitid rin pala ang utak mo. Hindi ka sisikat kung taga-punas ka ng puwet. Siguro kung maganda ka o guwapo,
you can beautify your way to the top. Pero, yang cinderella story only happens sa mga willing to do the "locomotion".
Mahirap
ang maging brainstormer... hindi yan biro. Iniisip natin ng kung makakagawa lang tayo ng isang magandang concept, tiyak
mapapansin tayo ng mga boss. Pero life does not work that way. Minsan, kung sino pa ang walang alam ang siya pang magsasabing
" If you dare to challenge me, your career will end". Aba, hanggang doon lang ba ang career natin?
Huwag
kang makipagpatayan brainstormer... kasi... hindi makikipagpatayan ang kompaniya mo para sa iyo... baka nga ilaglag ka pa!
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Action
is not about token fight scenes, fight scenes and fight scenes. It is more than that... it is about the "point of the action".
Usually, when we deal with drama, we often ask for the dramatic point or perhaps when we deal with comedy, we often ask for
the punchline. The same is true for action, the audience, as a collective, will look for the point of the action.
The point of the action revolves around the subject of the material.
Some directors, identify the point of the action through his or her vision. Without a clear vision or subject, the point
of the action does not exist. In this regard, it is important to determine the placement of the action. Meaning, in
a compounded genre, does the action pertains to the structure or components of a genre. Many wonder if there is a difference...
hell yah! If the action is the structure, the point of the action is at play. If the action pertains to the component,
the point of the action is silent.
One of the action directors
I like is John Ford. He did War Films that captured the point of the action. What action means and what action
does in the midst of a violent background. This I feel what action writers like me and action directors ( thats not
me) should realize that action is not about people punching each other... there is more to it. It is a brutal art form
that requires subtle and deliberate images the serves the point of action. |
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 Technological innovations, a new approach to the economics of filmproduction and a new sense of political and social value of film inspired New French Filmmakers or any new group of filmmakers in the1960s to collectively create its own voice in World Cinema. Thus,the New Wave was born.
The
400 Blows is one of the best-remembered materials that introducedthe
New Wave to the world. The movement uses an approach sometimescalled
dialectical film that involved reconceiving the entertaining consumer
commodity as an intellectual tool, a forum for discussion and
examination. Often, materials written for this movement were personal
essays that tackles political and social values that sought to
communicate a message by engaging the audience in an intellectual discussion
using the material as the arena for the forum.
Theme deconstruction is
a useful tool in identifying the message that is encapsulated
in the material. By doing this exercise, one is able to
understand the evolution of a material in terms of the type of statement
it tries to communicate to its audience.
The 400 Blows, in terms
of theme, explores the basic human struggle between
belonging and freedom. The four principal characters in the material,
torn between two irreconcilable needs, complicates their lives
as each one struggles to satisfy the need to belong somewhere with
someone and the need to be free. In the end, one of the characters,
through force of circumstance, opt for freedom at the complete
sacrifice of the need to belong. Thus, it is difficult to be
free and to belong to somewhere with someone at the same time.
This
desire to enjoy both freedom and belonging is the very thing that
complicates the lives of the principal characters. The more that
they insist in pursuing both needs, the more it becomes evident that
sooner or later each one will be force to choose between the said
needs.
Marriage, Family and Community are arenas that satisfy the need to
belong to somewhere with someone. But these arenas restrict
our individual freedom to do whatever we want. Being
part of a marriage, family and community requires commitment
and consensus. The individual disappears and the collective
emerges. Freedom, on the other hand, is the absence
of commitment and consensus. It does not submit to any
social contract and operates on individual sense of independence.
But freedom alienates a person from the collective and veers
away from arenas that limits it.
Thus, the material is
a socio-political value that engages the
audience in a discussion about freedom and belonging. It asks the question; Are you willing to sacrifice the need to belong somewhere with someone for the sake of freedom? Or are you willing to sacrifice freedom for the sake of the need to belong somewhere with someone?
Theme deconstruction enriches our knowledge in terms of understanding how a material was constructed. We begin to appreciate the skills of highly creative writers in coming up with materials that engages the audience in terms of presenting a statement of fact, argument,
persuasion or propaganda.
The 400 Blows is definitely a statement of argument that challenges
us to re-examine our individual definitions of freedom
and belongingas well as the inherent conflict of the
said needs. In the process, as we struggle to enjoy
both needs, it only delays the unavoidable.Sooner or
later, we need to make a choice. |
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What is
the difference between falling in love off screen and on screen. For some, there is no difference. Developing
a material for a love story, according to some writers, is basically writing about how people fall in love. Some would
go as far as saying that it is a matter of self-projection.
There are no exact rules with regards to this
issue but the direction of a falling in love material depends heavily on the writer's vision. Usually, you answer the
following questions;
1 Does art imitate life or does life imitate art?
2. Whose point of view are you using? First
person, Second or Third?
3. As a writer, are you a participant or a spectator?
4. Is falling in love a private, public
or personal human event?
5. Who gives the real direction? You, the Audience or the Producer?
6. Given that love is not
part of the equation, what is the next best replacement?
These are some of the questions, of course, I promised
my teacher not to reveal everything... or else I will lose my kung-fu, cheers. |
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If you are having problems with regards to content, concept, premise, character matrix, story matrix, outline, treatment
or script you can contact this number : 09215081060 or email at palarisconvention@yahoo.com. Rates will depend on the size
of the production house
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The usual
"vents" revolve around the definitions of what is mainstream?... and what is indy/ indie? Mainstream creative managers, not
all, tend to have this clueless view of what indy means. After watching several digital movies, the conclusion
is that anything digital is indy? Sometimes, the term indy is a patronizing way, for these so-called creative managers
( not all), to dismiss ideas without understanding the dynamics of idea formation and evolution. Perhaps, they were
not trained in this particular topic.
There is no such thing as an indy material, production, distribution or idea.
But there are alternative ideas, alternative materials, alternative production and distribution. An idea is alternative
if it does not cater to the general population. A production is alternative when it does not follow mainstream procedures
and specializations. Technology, for example, is alternative when it is not the platform of the general
population.
The term Indy/indie refers to individuals, groups
or production houses that strictly practice three main requirements; 1) deploys alternative materials, 2) exercises
creative independence and 3) exercises technological and creative experimentations. The said requirements should be present or else it is not indy/indie.
Thus,
indy / indie is beyond ideas, concepts, productions, materials or distributions...
it is a movement that
pushes creative and technical potentials to their limits in the context of independent moving images, free from
capital control.
It is possible for a mainstream material to be deployed using alternative
technology without experimentations wherein funds are coming from a mainstream studio with conditions regarding creative independence.
It is also possible for an alternative material to be deployed by mainstream technology with experimentations wherein funds
are coming from alternative sources in the context of creative independence.
Bottomline, there are three classifications
of materials 1) mainstream, 2) alternative and 3) militant. All three materials cater to defined targets with defined
themes, conflicts and subjects. To simply say that a material is indy/indie is truly an enigma for me considering that
mainstream creative managers, not all, are said to be always on top of their games. Perhaps, all these are just
delusions. I mean, maybe, they do not know anything at all. Or worst, maybe , just maybe, they refuse to accept that they
are fragments of a dying breed
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A Technical Story Editor vs. A Creative Story
Editor
There is a big difference between writing
your material and editing your material. Usually, it is hard for a writer to edit his or her work. This is natural for anyone
who invested time and money in a particular material. It is not a walk in the park as you begin the journey of coming up with
something that will capture the audience's imagination. Eventually, as you begin your dialogue with your audience through
your work, you hope that you will be able to create a strong relationship with your audience.
As a young community, we
have the ample space to maneuver. Thus, it is crucial for us to make sure that mistakes made in the mainstream are not repeated
in this alternative platform. Though I must admit, the concept of a creative team is not a newly found enterprise. It already
existed before. But the process from which it is founded seems to be bastardized by the usual Filipino Bad Habits.
Story Editors, in the Philippines,
are often found in publications that have narrative contents. Usually, local comic book and pocket book enterprises do employ
story editors with the sole purpose of making sure that materials submitted are within the parameters of the publishers. Though
writers may recent story editors, but in the end, they realize that without story editors, no one will give them a grounded
feedback with regards to their work.
There are two types of story
editors namely a technical story editor and a creative story editor. A technical story editor is purely context. Depending
on the method he or she is using in his or her outline analysis, a technical story editor evaluates the structural integrity
of any outline. Let say, an outline has a missing movement, the technical story editor will call the attention of the writer
regarding the said missing movement. Now with regards to what event the movement will assume, it is the writer who determines
that and not the technical story editor.
On the other hand, a creative
story editor edits both the context and the content. Meaning, he or she determines whether or not a material is structurally
correct and interesting. In the previous blogs, I mentioned that there is a huge difference between an interesting outline
and a structurally correct outline. In this regard, the creative story editor does not only objectively evaluate an outline
but also uses his or her taste to subjectively evaluate an outline.
As a tip to fellow Digital
Scriptwriters, It is good to have a story editor around. But you must figure out what type of story editor do you really need.
I mean, if you are a perfectionist and you know what you want, most likely you need a technical story editor. But if you are
a perfectionist and you do not know what you want, most likely you need a creative story editor. I mean, you do not hire a
creative story editor if you are sensitive with regards to the content of your material. Eventually, your relationship with
that story editor will evolve into something ugly.
Hiring a story editor is
a good investment if you are really set to make digital movie making a career. It gives your enterprise an advantage because
it provides valuable insights with regards to the viability of a material. As I said before, Digital Moviemaking is not a
single undertaking, it involves a lot of artists and craftsmen working together to come up with an engaging material.
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If your are living within the Antipolo Area (Sumulong Highway),
I am offering Material and Script Development and Management Tutorial. The tutorial is for students ( doing their thesis
or projects) and young writers ( exploring writing for cinema). If you want to join, you can send a sms message
to this number : 09279154265. Alternative
Material, Outline, Treatment and Script Development and
Management (Narrative)
STEP ONE : THE VISION AND
THE ARTISTIC MODEL
Transforming the abstract into a working model
STEP TWO : FORMULATING AN IDEA
An idea is a
basic unit in constructing a working concept.
STEP THREE : BUILDING A CONCEPT
The idea is the seed of the material
while the concept is the cradle
of the idea.
STEP FOUR : CONSTRUCTING THE PREMISE
The premise has two components
namely the character and the story.
The said components operate within the structure of the premise.
Often, the logline
or pitching line comes from the premise.
STEP FIVE : CONSTRUCTING THE OUTLINE
The outline has 8 major parts called
movements.
STEP SIX : THE SEQUENCE TREATMENT
The sequence treatment bridges the outline and the script. The
treatment
determines how many sequences will it take to execute a
movement.
STEP SEVEN THE SCRIPT : FORMAT
The script is
made-up of 7 major parts.
STEP EIGHT : ELEMENTS OF THE SCRIPT
The script has 5 elements.
STEP NINE : SCENE
BUILDING
A. Structural Direction of A Scene
B. Types of Scenes
C. Visual Devices |
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There is a big difference between "Choices" and "choices". "Choice" refers to the emotional component of a physical "choice".
A little girl who chooses to buy a toy gun instead of a doll is not only looking at the physical form and function of the
toy but also the emotional form and function of the toy. When a father tells the little girl not to choose the toy gun, the
same process is operating.
Often, we make conclusions about the choice and the Choice. When a woman chooses to marry a handsome man, we automatically
conclude that the attraction is purely physical. By doing so, we neglect the value of the Choice. What could be the emotional
dimension of choosing a handsome man? Could this be a direct manifestation of pride, envy or emotional deficiency? Is the
woman trying to compensate for a psychological deficiency? Could we infer that a handsome man is equated to a woman's feeling
of security?
I find it problematic when the choice has no Choice. I mean, do we choose out of nothing? Do we choose based solely on physical
dimensions? If this is the case, then choice becomes a mystery. You see the choice yet there is no meaning.
At the same time, a Choice is always within a framework of a choice. When we choose to love, it is always within the boundaries
of a physical form. As they say, words without actions remain in the abstract. If this is the case, the Choice becomes an
enigma. You understand the Choice yet there is no physical form.
I will not discount the fact that enigmas and mysteries perform specific functions in any material. But these functions are
always geared towards the eventual understanding of such devices. When an enigma remains an enigma, there is a purpose and
it is not a random creative choice on the part of the writer. But these are exceptions to the rules. In general, choice and
Choice work together in formulating a specific behavior that affects human actions and activities.
Writing materials that focus on women are always about choices and Choices. When a woman chooses to go through abortion, the
choice is always accompanied by an emotional component that varies depending on the hierarchy of needs of the said woman.
According to Abraham Maslow, there exist a hierarchy of basic needs. These needs are 1) physiological needs, 2) safety needs,
3) belonging and love needs, 4) esteem needs, and 5) self-actualization. These needs, in my opinion, constantly compete with
one another as an individual begins to process the Choice behind the choice.
The process of Choice determination is relative, personal and unique. Personality comes into play in terms of how an individual
goes about in making the Choice for the choice as well as the effects of the choice in terms of the Choice. Women who choose
to go through abortion in order to avoid animosity inside a family tend to value stability and order. Women who choose abortion
due to financial reasons tend to value physiological needs. Women who choose abortion in order to avoid moral sanctions are
concerned with esteem needs. And women, who choose abortion because having a child is not a career consideration, tend to
value self-actualization needs.
A need is always important to the person who values it. Meaning, there is no such thing as a wrong, correct, moral or immoral
need. What exists is a need that is measured in terms of its importance to the individual as she or he compares the said
need to other needs. By comparing, the individual is able to look at a situation base on what she or he thinks is more relevant
to his or her need. Thus, if a situation threatens a need which an individual values the most, most likely that individual
will choose a choice that will eliminate the threat.
If an unknown assailant rapes a single woman and the said woman gets pregnant, what could be the possible scenarios for the
said situation? Is she going to continue with the pregnancy? Is she going to opt for abortion? Or is she going to end her
life? The following are the possible scenarios.
Scenario A
If the personality of the said woman values physiological needs, most likely she will opt for abortion. For one thing, for
a single woman, it is financially and physically taxing to go through a pregnancy. It is no joke. You need to cover hospital,
doctor and medical expenses. You must fulfill health requirements. And finally, you need to save a heap load of money in order
to cover the potential cost of giving birth.
Scenario B
If the personality of the said woman value safety needs, most likely she will end her life. She knows that the whole situation
is threatening the stability and order of her life as well as the lives of her love ones. Her condition does not promote the
need that she values rather it creates chaos in her life. Thus, as chaos advances, she looses control over order and stability.
At this point, through sheer desperation, she looks for a means to assert control. She might conclude that ending one's life
is the only control that she has over the situation. For her, life is chaos and death is asserting order. Thus, she will end
her life.
Scenario C
If the personality of the said woman values belonging and love needs, she will act relative to the reactions of the people
around her. If the people around her are supportive, then most likely she will continue with the pregnancy. If the people
around her are not supportive but do not reject her, then most likely she will opt for abortion. But if the people around
her reject her, then most likely she will end her life.
Scenario D
If the personality of the said woman values esteem needs, she will act in terms of self-respect or recognition. If self-respect
is the dominant function of the esteem need, then most likely she will end her life. This is because self-respect is internal
and subjective. But if recognition is the dominant function of the esteem, then most likely she will opt for abortion. Recognition
is external and objective.
Scenario E
If the personality of the said woman values self-actualization needs, she will act relative to the utility of the situation
with regards to the development of her potential and capabilities. If the said situation impedes this development, then she
will terminate the pregnancy. But if the situation contributes to her potential and capabilities, then she will continue with
the pregnancy. For example, if the pregnancy will impede her career development, then abortion is an attractive solution.
But if, due to the incident, she becomes the new champion of the rape victims and becomes a television personality, then most
likely she will continue with the pregnancy.
In constructing a character, personality becomes the core value. It determines the hierarchy of needs and the intensity of
each need. When personality is absent, the character becomes a puppet in the material. It loses its body, will, intellect,
social relationships, emotion and self. It becomes vulnerable from discrepancies and anomalies that could either make a character
an enigma or a mystery.
Character is never a device of the story rather it is a component of a material. It has the capability to stand alone if
constructed in such a way as well as work with story, genre and plot if need be. Thus, a writer must invest on character development
and management relative to the story, genre and plot.
The hierarchy of needs is a useful tool in understanding a character's psyche. That is why, needs, as stated before, are subjective,
unique and personal. To label a need whether it is wrong, right, moral or immoral is counter-productive to the development
and management of a character. Thus, a writer must be open and compassionate in probing what makes the character value such
a need over other needs.
Choice and choice, everyday we make decisions that affect our personal actions and activities. The same holds true for characters.
As a component of the material, the character constantly make choices and Choices. These actions and activities are not
random but deliberate.
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The fundamental discussion on how do
we define insurmountable obstacle in a romantic tragedy is often the subject of intense and passionate exchanges. Unlike in
romance, the obstacle in a romantic tragedy is qualified by an adjective that often sends various interpretations.
We
are used to the typical balance between obstacle and hero. The degree from which the two elements are constructed
should be in equal horizons. I agree. Though the obstacle is difficult, the degree of difficulty should be proportional
to the character matrix of the hero. I must admit, the point from which the hero overcomes the obstacle is when the
hero realizes the need to overcome his emotion baggage.
In a romatic tragedy, the obstacle is qualified
by the adjective insurmountable. At one glance it seems that the obstacle is beyond reach. Some speculates that
the insurmountable quality is a matter of perception perpetuated by the writer as he or she tries to paint a magical rendering
of the tragedy.
At first, I tend to subscribe to this idea, given that the writer is the creator of the material.
But if this is the case, proponents of this genre should have indicated this fact. I believe, in my latest research,
the insrumountable obstacle as a requirement for a romantic tragedy is not a matter of perception but real. It
is real because it forces the writer to create complex and psychologically deep characters which I call formidable heroes
or heroines. Given this assertion, it is clear why romantic tragedies generally assume sad endings.
When
a formidable hero confronts an insurmountable obstacle, 2 scenarios may occur namely;
1. If the formidable hero overcomes
the insurmountable obstacle, the formidable hero automatically sacrifices himself or sacrifices something valuable.
2. If the insurmountable obstacle stops the hero, the insurmountable obstacle destroys the hero or something valuable
within the hero.
Given this argument, I feel that the requirement for an insurmountable obstacle is real and not
a matter of perception. Now I know why the requirement is so strict because it tries to sets itself apart from a conventional
romance that is usually about ordinary lovers.
A good creative manager,
head-writer or creative head unitis able to spot raw talents and guides such talents to absorb skills that are within the
parameters of a company or creative team. The real difficulty is not the training but the spotting. Contrary to
ruthless methods, anger will only make the situation more difficult. Real talent is often identified through diagnostic
trade secrets.
Creative Management and Development in highly successful
multimedia companies are often structured in a think-tank model. The model presents five distinct types namely;
1) the spotter, 2. the tosser, 3. the pointman, 4. the baseline and 5. enforcer and 6) moderator. The said types are under
the moderator who is often the creative head unit or the creative manager.
The baseline provides the initial spread of the creative
engagement. He or she comes up with the raw parameters that are often dictated by the moderator. The
baselines are individuals who present the team with the initial spread that are often raw and
general. It is then the job of the moderator to evaluate the potential of the baseline's initial spread.
The tosser gives the baseline the creative possibilities.
He or she saturates the baseline with creative inputs that are within the initial parameters of the moderator.
The spotter guides the tosser in terms of interpreting, validating and analyzing the tosser's creative possibilites.
The enforcer then edits the the creative output using the analysis of the spotter. The pointman identifies
all the creative options as presented by the creative outputs. In
the end, several creative options are presented. The moderator selects the best option and refines the creative output.
A good creative head should know how to classify
the members of his or her team. When the creative head fails to do so, usually, brainstormings are unpleasant and
full of useless shouting matches. Some would argue that anger is a good source for creative outputs... I disagree.
Marketing studies show that when the primary emotion in any creative engagement is anger, creative outputs tend
to be shallow and empty. So know what type you are so that you can efficiently use your creativity in a very efficient manner.
Peacock (Chinese: 孔雀; pinyin: kǒng què) is a 2005 film directed by Gu Changwei, written by Li Qiang. This is Gu's first time as director, after a lengthy career as a cinematographer for some of China's top directors. The film premiered simultaneously in both China, and in competition at the 2005 Berlin International Film Festival, and later received the Jury Grand Prix - Silver Bear at the Berlin Film Festival.
Grim and nearly silent, the film is set in northern China in the 1970s and follows the difficult experiences of three siblings, one of whom has a learning disability. When the characters actually do speak, they speak Standard Chinese with an almost incomprehensible Wu accent. Original runtime was over
Certain people will demand
for more dialogues while others will demand for less dialogues. Conventional wisdom states that character driven materials
are always given more dialogues compared to story driven materials. But this is not always the case, sometimes, character
driven materials are more effective if less dialogue is employed.
Then again, there is always this question with regards to melodramas.
Usually, melodramas like soaps are often dialogue stereotypes with emphasis on the deliveries of the words and sentences.
But when we deal with character driven "dramas" or "pure dramas", what works with the construct is the principle of "less
is more".
When demanding for more dialogues, there is the need to come up with unique models.
Recycled dialogues are rampant specially in television soaps. When soap wirters write for cinema, the wide screen is
transformed into the television screen. Instead of making the central problem cinematic, the audience ends up with emotional
sprints.
Melodrama works for television when it is the only tone offered by television networks. The same is
true for cinema. We always get this over the top melodramas that are only good for 2 minutes and then the whole thing
becomes an artificial emotional loop.
Dialogues should describe the physical and emotional flows of the narrative. "The
Dialogue" is not the center of the material or the universe from which all the elements in a material or script are subordinates.
Dialogues augment the milieu, the montage and the mise en scene. " The Dialogue" is just a part of the cinematic
experience and not the experience itself.
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(baseline the monitor)
Right
: Buger( Buger Medina Journal), Job (Writer's Bloc) and the Amazing Zyan
( Writer's Bloc)
Left : Writer-Producer Onah Valera and Director Ned Trespeces of Dirty Kitchen Productions ( My Fake American
Accent) ; Pepper and the birthday girl Astrid ( Writers Studio)
The best part of the indie scene is being
with genuine individuals who share the passion of digital movie making. If you want to make good movies, be with good
people.
My Fake American Accent is a Cinemalaya 2008 finalist
produced by Dirty Kitchen Productions headed by Director Ned Trespeces and Writer-Producer Onah Valera. Let us support this
production and their digital movie.
Highly Recommended
cheers
Booger
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My Fake American Accent Production |
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Proponents Behind The Patatas
JL "Zyanthorr" CAIÑA
JL’s
insatiable passion for books led him into writing at a young age. During Grade
school years he started creating originally-drawn and written comic books with friends with the same interest. The subjects were mostly about alien and super-human powers.
In high school, he started getting interest on other media: movies and stage.
He joined several stage acting and writing programs and was active at the school movie club and shot own amateur video
shorts.
He took up Accountancy in college but his passion pulled him back to writing and visual arts. At 18, he became a photo contributor to Recycled Paper Greetings of Chicago,
Illinois USA. He joined Dulaang Balintataw and affiliate C.R.A.F.T. (Community Research and Artistic Formation Theatre) as actor-writer-director.
Now, he is a freelance playwright and a member of Writer’s Bloc Inc. (Formerly PETA-Playwrights Development Project)
and was a finalist and runner-up of the group’s
Charley Dela Paz Awards For Young Playwrights.
He also delved into pop novellas, mostly romance and horror, for a couple of publications. Book series continuation of TV Series “Mula Sa Puso” and “Esperanza,” under ABS-CBN and Universal Publishing;
GMA Telesine’s “Puting
Panyo” for Tahanan Books;
and “Nginiiig,” under Golden Books are just some of his
works.
Branching out into feature writing, some of his works about food, writing life, and television appeared on nativeswish.com, MOD, Mirasol, and TV
Guide.
His short stories, on the other hand, appeared on Liwayway and Mirasol Magazine (Counterpoint Publishing). His sci-fi “The Visitor” appeared on Fantasy And Science Fiction, USA.
His passion for writing never seizes, he later joined ABS-CBN Film Productions/ Star Cinema as part of their CDG (Creative Development
Group). After more than a year, he later transferred to ABS-CBN Entertainment Group as Creative Assistant/Creative Research and Development staff and worked with the AVP to achieve the network’s vision of synergy by intelligent creative traffic
of subsidiaries (Cinema, Records, Consumer Products, TV, Talent
Center, Radio, Publishing) and industry colleagues.
His passion for food opened door into writing for the cooking show, “Sarap TV,” and soon developed an original cooking challenge show for non-pro cooks which became “Makuha Ka Sa Tikim.” Later on, he founded a creative seminar for
food writers.
As a TV drama writer, he wrote in several soap operas in the network including Marinella and the first ever Teleserye
that set the trend, Pangako Sa ‘Yo. Later on, he served the network as
TV Analyst, studying TV shows all over the world for creative and trending use.
He resigned from his post and went freelance as a Creative Strategist. He also translated Asian Movies and TV Series for Jemah Entertainment.
He then had the time to co-found Irish Patatas
Entertainment, which story about a midget with
a big heart, “small girl, BIG dreams” was one of the semi-finalists of 2006 Cinema One Originals. The group is under pre-production stage and seeking partners
for the above-mentioned project and other titles including: aBaKaDa NI Boyet, about a young man’s
surreal journey to his battered past; KAMAKAILAN, a four-part full-length movie that studies how short life’s
phases are to make right decisions.
As a form of sharing, he co-founded Irish Patatas’ creative services and workshop arm – the chips … Creative Skills Enhancement which, together with affiliates, holds
workshops from mainstream fiction writing to food writing and alternative scriptwriting.
His personal effort about the comic side of terrorism “Go! Go! Go! Sago!” was a semi-finalist to 2005 Cinemalaya Digital Film Festival. He’s currently working on a children’s book and
a graphic novel for local publication.
Irish Patatas Entertainment is also planning to go into graphic novel publishing in the near future.
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MELCHOR "Booger" df. ESCARCHA
1991, Melchor df. Escarcha started writing in college. As a student in the University of the Philippines
Diliman, he was the managing editor of The Rhocsan, the UP Tau Rho Xi official Newsletter, and was one of the Feature writers
of the Philippine Collegian Diliman Campus.
After college, he started his career in television as a writer for gag and sketch shows in the country’s thee
major networks. At the same time, he worked for a local film studio and conceptualized several stories including Tanging
Ina.
While working, besides undergoing several company-sponsored seminars & workshops in film and television,
he took up two short courses under the University of the Philippines Film Institute. He got two certifications namely Basic
Video Production & Art and Animation. It was in the Institute that he began to specialize on animation.
In 2004, an animation studio recruited him to assume the positions of headwriter and story editor. When the
studio's projects ended, a US based animation
and comics studio asked him to be part of its creative core. At Present, he is
a creative consultant for THUNDERPUNCH Animation and Comics Studio USA and Indio Genome Project_ SHOGEE Animation team.
He is one of the working partners of Irish Patatas Entertainment and one of the active instructors under the chips:
Creative Skills Enhancement Program. He
founded Akira's Nightmare Animation Scriptwriting Laboratory and Cadaver Lover Comic Book Scriptwriting Workshop
that are now based at the Mind Tap Animation Studios/Asia Pacific College-Magallanes under the Multimedia Arts Program.
He is the co-founder of Cinema Laboratory: SiNELAB. He also formed two other alternative
writers' projects namely; Mendiola Underground & the Christian Writers Workshop
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