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  • #16
    Depends on if you want the audience to know it's a dream in advance. Check out Lester Burnham's dreams in the American Beauty script.

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    • #17
      Funny you should mention American Beauty. That's one of the scripts I looked at. The transition was so subtle, you almost didn't notice, like the writer wanted you to believe it was the reality at that moment. In my script, I have a dream that I want to be apparent it's a dream and several premonitions that the audience/reader will know are premonitions. I don't want to overuse the CUT TO: or FLASH WHITE nor do I want the transistions to draw away from how the script reads. It could make the difference between securing an agent/producer and not. The rest of the script, at least to me, seems fairly tight.

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      • #18
        Bill M,

        McKee says power in film comes from changes in value. Values are things like love-hate, freedom-slavery, justice-injustice. Scenes, sequences and acts should move between these polar values to create an emotional response in the audience. My question: is McKee right? Are there other ways to create powerful audience emotions?

        Greg

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        • #19
          Re: red or White wine?

          Which goes better with fish?

          Disagree with WC on the restaurant thing, though. I've got a script who's main setting is a restaurant, and there are PLENTY of places for the characters to go, actions to occur, etc. Each with a purpose, to define action, setting or character.

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          • #20
            restaurant scenes

            not so bad, as long as you enter them late enough

            as in, don't show us the people arriving, getting seated, ordering, eating and so on

            if the scene needs to take place in an eatery, consider the scene beginning over coffee and asking for the bill... the other stuff is typically boring, and don't you wonder how in the three or four bites that we see onscreen that they have actually cut, bitten into, chewed and swallowed that mouthful of filet mignon or lobster or whatever (since many actors don't want to be seen talking with their mouths ful)

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            • #21
              PPPC: I don't think how you transition into a dream will "make the difference" in getting an agent or a producer. Seriously now. Just make it clear if you want the audience to know it's a dream and good luck.

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              • #22
                Well, I don't know. I like dialogue, smart, funny, insightful. One of the reasons I liked Moonstruck is that I thought is was one of the few movies I've ever seen where I could actually see the writer's vision. Maybe he was messed with but it didn't appear to be the case.

                Almost anyone can write scenes with people getting their heads chopped off but how many can explore character and motivation and enlighten us in some way.

                So, I guess my question is how are the popular "formulas" stiffling creativity?

                lilybet

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                • #23
                  Reversals - Rising action?

                  As usual, I have no idea what McKee is talking about. Hee ignores a perfectly good phrase "leit motif" used to describe recurring images in film and makes up his own phrase "image system". This confuses me... it's like he's making up a code to make it more mysterious!

                  So - is he saying that excitment comes from reversals (true) or that all drama has rising and falling action (also true)?

                  Both create an emotional response in the audience... but so does a good joke.

                  - Bill

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