Screenplay
The Foundations of Screenwriting
(Sprache: Englisch)
Hollywood's script guru teaches you how to write a screenplay in "the 'bible' of screenwriting" (The New York Times)-now celebrating forty years of screenwriting success!
Syd Field's books on the essential structure of emotionally satisfying screenplays...
Syd Field's books on the essential structure of emotionally satisfying screenplays...
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Hollywood's script guru teaches you how to write a screenplay in "the 'bible' of screenwriting" (The New York Times)-now celebrating forty years of screenwriting success!Syd Field's books on the essential structure of emotionally satisfying screenplays have ignited lucrative careers in film and television since 1979. In this revised edition of his premiere guide, the underpinnings of successful onscreen narratives are revealed in clear and encouraging language that will remain wise and practical as long as audiences watch stories unfold visually-from hand-held devices to IMAX to virtual reality . . . and whatever comes next.
As the first person to articulate common structural elements unique to successful movies, celebrated producer, lecturer, teacher and bestselling author Syd Field has gifted us a classic text. From concept to character, from opening scene to finished script, here are fundamental guidelines to help all screenwriters-novices and Oscar-winners-hone their craft and sell their work.
In Screenplay, Syd Field can help you discover:
• Why the first ten pages of every script are crucial to keeping professional readers' interest
• How to visually "grab" these influential readers from page one, word one
• Why structure and character are the basic components of all narrative screenplays
• How to adapt a novel, a play, or an article into a saleable script
• Tips on protecting your work-three ways to establish legal ownership of screenplays
• Vital insights on writing authentic dialogue, crafting memorable characters, building strong yet flexible storylines (form, not formula), overcoming writer's block, and much more
Syd Field is revered as the original master of screenplay story structure, and this guide continues to be the industry's gold standard for learning the foundations of screenwriting.
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Chapter OneWhat Is a Screenplay?
Suppose you re in your office. . . . A pretty stenographer you ve seen before comes into the room and you watch her. . . . She takes off her gloves, opens her purse and dumps it out on the table. . . . She has two dimes and a nickel and a cardboard match box. She leaves the nickel on the desk, puts the two dimes back into her purse and takes her black gloves to the stove. . . . Just then your telephone rings. The girl picks it up, says hello listens and says deliberately into the phone, I ve never owned a pair of black gloves in my life. She hangs up . . . and you glance around very suddenly and see another man in the office, watching every move the girl makes. . . .
Go on, said Boxley smiling. What happens?
I don t know, said Stahr. I was just making pictures.
The Last Tycoon
F. Scott Fitzgerald
In the summer of 1937, F. Scott Fitzgerald, drinking far too much, deeply in debt, and drowning in the suffocating well of despair, moved to Hollywood seeking new beginnings, hoping to reinvent himself by writing for the movies. The author of The Great Gatsby, Tender Is the Night, This Side of Paradise, and the uncompleted The Last Tycoon, perhaps America s greatest novelist, was, as one friend put it, seeking redemption.
During the two and a half years he spent in Hollywood, he took the craft of screenwriting very seriously, says one noted Fitzgerald authority: It s heartbreaking to see how much effort he put into it. Fitzgerald approached every screenplay as if it were a novel and often wrote long backstories for each of the main characters before putting one word of dialogue down on paper.
Despite all the preparation he put into each assignment, he was obsessed with finding the answer to a question that haunted him continuously: What makes a good screenplay? Billy Wilder once compared Fitzgerald to a great sculptor who is hired to do a plumbing job. He did not know how to connect the pipes so the
... mehr
water could flow.
Throughout his Hollywood years, he was always trying to find the balance between the words spoken and the pictures seen. During this time, he received only one screen credit, adapting the novel Three Comrades by Erich Maria Remarque (starring Robert Taylor and Margaret Sullavan), but Joseph L. Mankiewicz eventually rewrote his script. He worked on rewrites for several other movies, including a disastrous week on Gone With the Wind (he was forbidden to use any words that did not appear in Margaret Mitchell s novel), but after Three Comrades, all of his projects ended in fail- ure. One, a script for Joan Crawford called Infidelity, was left uncompleted, canceled because it dealt with the theme of adultery. Fitzgerald died in 1941, working on his last, unfinished novel, The Last Tycoon.
He died believing himself to be a failure.
I ve always been intrigued by the journey of F. Scott Fitzgerald. What resonates with me the most is that he was constantly searching for the answer to what made a good screenplay. His overwhelming external circumstances his wife Zelda s institutionalization, his unmanageable debts and lifestyle, his excessive drinking all fed into his insecurities about the craft of screenwriting. And make no mistake: Screenwriting is a craft, a craft that can be learned. Even though he worked excessively hard, and was disciplined and responsible, he failed to achieve the results he was so desperately striving for.
Why?
I don t think there s any one answer. But reading his books and writings and letters from this period, it seems clear that he was never exactly sure what a screenplay was; he always wondered whether he was
Throughout his Hollywood years, he was always trying to find the balance between the words spoken and the pictures seen. During this time, he received only one screen credit, adapting the novel Three Comrades by Erich Maria Remarque (starring Robert Taylor and Margaret Sullavan), but Joseph L. Mankiewicz eventually rewrote his script. He worked on rewrites for several other movies, including a disastrous week on Gone With the Wind (he was forbidden to use any words that did not appear in Margaret Mitchell s novel), but after Three Comrades, all of his projects ended in fail- ure. One, a script for Joan Crawford called Infidelity, was left uncompleted, canceled because it dealt with the theme of adultery. Fitzgerald died in 1941, working on his last, unfinished novel, The Last Tycoon.
He died believing himself to be a failure.
I ve always been intrigued by the journey of F. Scott Fitzgerald. What resonates with me the most is that he was constantly searching for the answer to what made a good screenplay. His overwhelming external circumstances his wife Zelda s institutionalization, his unmanageable debts and lifestyle, his excessive drinking all fed into his insecurities about the craft of screenwriting. And make no mistake: Screenwriting is a craft, a craft that can be learned. Even though he worked excessively hard, and was disciplined and responsible, he failed to achieve the results he was so desperately striving for.
Why?
I don t think there s any one answer. But reading his books and writings and letters from this period, it seems clear that he was never exactly sure what a screenplay was; he always wondered whether he was
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Autoren-Porträt von Syd Field
Acclaimed as “the guru of all screenwriters” (CNN), Syd Field (1935-2013) is still regarded by many Hollywood professionals to be the leading authority in the art and craft of screenwriting. The Hollywood Reporter called him “the most sought-after screenwriting teacher in the world.” Field’s internationally acclaimed best-selling books Screenplay: The Foundations of Screenwriting, The Screenwriter's Workbook, and The Screenwriter’s Problem Solver have established themselves as the “bibles” of the film industry. Screenplay and The Screenwriter’s Workbook are in their fortieth printing and are used in colleges and universities across the country. They have been translated and published in more than twenty-five languages.
Bibliographische Angaben
- Autor: Syd Field
- 2005, 336 Seiten, Maße: 13,1 x 21,1 cm, Kartoniert (TB), Englisch
- Verlag: DELTA
- ISBN-10: 0385339038
- ISBN-13: 9780385339032
- Erscheinungsdatum: 12.08.2011
Sprache:
Englisch
Pressezitat
Screenplay is one of the bibles of the film trade and has launched many a would-be screenwriter on the road to Hollywood. Library JournalSyd Field is the preeminent analyzer in the study of American screenplays. James L. Brooks, AcademyAward winning writer, director, producer
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