SAC 309 notes - Sasha Wang SAC 309.001 The Screenplay as...

Info iconThis preview shows pages 1–4. Sign up to view the full content.

View Full Document Right Arrow Icon

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: Sasha Wang SAC 309.001 The Screenplay as Literature Victor Fanucchi 09/09/09 I ntroduction Reading script- what you would be reading as a spec Shooting script- mostly what we will be reading; not what you would be reading as a spec o Unlike reading script: Has camera moves (ex. dolly, pan, zoom, transitions, cut to, fade in fade out) Scene numbers, add letters to avoid messing with scene numbers Interior/Exterior (INT/EXT) starts off the element of the screenplay page (ex. INT. CLASSROOM DAY) VO Voice Over OC- Off Camera OS- Off Screen POV- Point of View Adaptation Analyses Assignment o In drop-box on same page as a log line, talk about at least three different specific adaptation choices that were made between the stage play and the screenplay o Go into the question of Why? o Base it on specific details from the text; specific changes and cite specific details in the scripts to back it up 1 o 1.5 pages o Not a formal essay; introduction and conclusion are unnecessary 09/14/09 Glengar ry Glen Ross (screenplay) by David Mamet David Mamet o Other films include Red Belt, Edmond, State and Main, Spartan, Wag the Dog, Hannibal, The Untouchables, House of Games o Giant in the screenwriting world o Well known for his dialogue; his voice is very distinctive o Playwright in the Chicago theater scene in the 1970s ( Glengarry Glen Ross and American Buffalo ) o 1992 he screen-wrote Glengarry Glen Ross, but was very participatory in the actors rehearsals o Glengarry Glen Ross Conflict of middle class America wanting to get ahead The need for money leads to desperation The old guy who just cannot give up In the end, though, it really just seems like a young mans game Mamet is not shy when he says that economic life in America is a lottery (the more I have the less you have) where one can only thrive on the failure of another Fair play becomes an outdated concept, hooray for me and to hell with you Aronow has some degree of conscience, wants to do the right thing, but at the same time feels he does not fit in and needs to make his living 2 Time limit, there is always a ticking clock These salesmen are working for their pride Levene is working for his wife Shoots himself in the foot by saying to Williamson If youre going to lie make sure it helps o Logline Concentrate on a main character, Levene Propels the story, had there been no story there would have been no part of the Who done it situation Have the most background information on him Pride over his family Main character/protagonist/hero/anti-hero Antagonist consciously and actively wills the opposite result of what the main character wants; villain o But sometimes antagonists have very understandable motives When you describe the objective/goal/need of main character, use a certain formulation o Must (active verb that the character needs to do) o Avoid a passive verbal logline construction...
View Full Document

Page1 / 33

SAC 309 notes - Sasha Wang SAC 309.001 The Screenplay as...

This preview shows document pages 1 - 4. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online