Chapter Thoughts on Script Magic [Archive]

ADDBrophy

03-05-2003, 09:40 PM

Chapter One: Screenwriting and the Subconscious Mind.

"To sell a script and establish yourself, your writing must be unique
and well-crafted, with extremely real characterization and story
events that ring true."

I'll agree with that on some points; what about fantasies and science
fiction? Perhaps if she means that the film must stay in it's limits,
then that's true.

"Visualization is the key for a writer to bring the script to the
next level. When you tap into the power of your subconscious mind
and trust that it will give you whatever resources you need to
succeed, you will!"

I find this to be true. You visualize the events in your script
after all. Visualization is like making a blueprint of something
in your mind.

"A List Screenwriters will tell you that there careers were paved
with rejection slips."

Hey, in my opinion, screenwriting's like gambling at the biggest
casino of them all: the Hollywood Casino, and most of the time you
will lose, but sometimes, that positive reinforcement comes.

"The more vividly you visualize yourself as a successful screenwriter,
the more clearly people will see you in this light."

This is 50/50. If I act like the boss in front of even the manager,
he'll think I'm wierd. Yet, it makes sense that if you treat yourself
like a king, people will think you live like a king.

"If you have problems bringing a screenplay to fruition, the reason may
be because your left brain is too busy censoring all the colorful
ideas your right brain brings to the surface."

What can I say? The left brain is annoying. I guess she'll teach me
how to confront it.

"Generate ideas first, then edit."

Sounds logical enough. After all, most movies today seem to just be
sequences of SNL-style skits put together.

"We learned to put an undue amount of value on our logical, "conscious"
mind and grew further away from our natural creativity and the
subconscious mind."

True. I think of middle school: did I ever get a poetry assembly?
No, it was the math team competition!

"In the script magic system, my goal is to get you in touch with the
muse within. It's extraordinary power is avaible to you twenty-four
hours a day, seven days a week once you know how to make contact with
it."

Alrite- I expect this book to turn my subconsious into a money making
machine, or I'll realize that Marisa D'Vari is just as bad as that
money grubber Pat Robertson.

"You can be working on your script while you're at your day job, the
place that pays the bills while you set your screenwriting career in
motion!"

I already do that. It's called not paying attention to your job.

"You cannot expect ideas to be conjured up on command without mental
preperation. To be a compelling storyteller, it's imperative that you
get back in touch with your creativity on a daily basis. Rely on your
subconsicious mind to form the basis of your script."

I think we all know that secret. We just don't use it. Damn, if I
followed this, I'd probably be richer than Walt Disney.

"Writing the kind of film that generates huge revenues is a combination
of finding a common thread millions can relate to, writing a familiar
yet compelling story with your own unique twist to keep the audience
interested, and ensuring characters have enough depth and dimension
to attract top talent."

I agree with the first two. 21 million people are not going to see
a flick that has a dumb theme. Also, people like familiarity in general,
yet hate stereotypical films, which is why half the movies fail. But the
third one, as much as I love that idea, sometimes does not ring true if
an A-list star plays that supporting role (like Julia Roberts playing the
minor character in Erin Brokovich or The Rock in The Scorpion King)

"While some might dismiss Pretty Woman as a Cinderella story, the truth
is that we all want to experience that Cinderella magic at some point
in our lives. And until we do, we have the movies to satisfy us."

Sad but true. Same reason why I go to see movies about 30 year old men
reliving their wacked-out college days.

"The secret to writing a blockbuster mainstream script lies not just in
execution, structure, and characterization, but in the screenwriters
insights and wisdom while in the incubation and development stages
of the script. A good film is the result of how successfully the
screenwriter really visualizes and lives in the world of which he or
she is writing."

True mostly. Taxi Driver had a sick ending, and I dont remember the
message, but it still was one of the 70's greatest films. Most
screenplays that are blockbusters are about relationships, spirituality,
and self-esteem, and oh yeah, they have tons of FX in them. I like the
last comment though. Even if it sounds like becoming a schizo, I'm
sure my stories environment would be better if I lived and breathed it.

"Characters must go beyond being believable. They must come across as
people who, in the course of the movie, we get to know intimately.
Make sure your script revolves around a universal theme such as love,
friendship, health, safety, or success."

Why can argue with that? Absolutely true. Think of Hud.

"Effective dialogue is never about the actual words, but about the way
they are spoken and the meaning behind them."

Subtext. Whoah.

"You are an artist that paints with words instead of colors."

Hope I'm not as poor as a painter months after reading this book!