Cine Writer

12 Tips of filmmaking

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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;">The maverick director of John and Jane and Miss
Lovely [ Ashim Ahluwalia 12 Tips of filmmaking] shared his insight on
filmmaking. He advised first time directors against the following unspoken
rules of the industry.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 1: You need to have a bound script<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Screenplay formats were designed for the Hollywood
studio system. It’s actually meant for script readers who have to go through
hundreds of scripts, that’s why they have invented this format.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The real script is worth worrying about. It’s
without the formatting – one in which you write whatever you want to write.
It’s the one that includes your own notes about atmosphere, colour and mood.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Write a “bound” script to raise money but the real
thing should be a mess – notes, pictures, whatever. Godard wrote Breathless on
the back of a paper napkin.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">There is always an emphasis on safer films like
rom-coms, films like you have seen before. But if you’re going to start like
that, it’s never going to rise above the surface. Nobody is going to notice
you. So throw this rule out and startle the spectator.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 2:  Your
screenplay should have Three Acts<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Go to a Hollywood movie and check when the first
explosion comes in – it will be around 10 minutes, the next one will be roughly
around 20 minutes and in thirty minutes you will have some cliffhanger feeling
because that’s the end of Act one. The thing works like clockwork which means
every film works the same way.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The funny thing about the three-act structure is
that it’s not a story structure at all. We don’t know why it became the norm;
it just seems simple enough to follow. It particularly worked for simpler
commercial films. But you can’t find it in our mythology. The Ramayana or the
Mahabharata do not follow a three-act structure. The great stories of the past
don’t have a three-act structure, so why is it being applied to screenplays?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The Greeks had no structure, they had plays with one
act. The Romans had five acts. Japanese cinema sometimes has seven acts. So why
are we stuck at three acts?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Sometimes you have a story that needs a certain
ending and digression. Fuck the structure, do it the way you want to do. The
key is to keep it engaging and to have enough plot points to move the story
forward so that the momentum doesn’t get flat. But how you do it is really upto
you.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 3: Your film should have a clear meaning that
everybody understands<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">People will ask you what your film is about, what is
the theme, what is the subject?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">You don’t need to summarize your film in one
keyword. It’s not a pamphlet. It’s not an AV. 
It’s a film.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">It’s usually the producers who ask you to tell your
story in one line. If that were the case, then there would be no films by
masters like Tarkovsky especially The Mirror which is his best film. How do you
describe that film in one line?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">You would only have films propelled by action;
that’s why all Hollywood and Bollywood films are propelled by action. You won’t
have films which are ephemeral, like dreams for example.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 4: You need to give people what they want<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">This is an abstract statement because nobody really
knows what they want. People are really confused about their wants. This idea
of giving them what they want is very dangerous for filmmakers. The moment you
start thinking this way, you start second guessing your audience.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">I think one of the most beautiful things in
filmmaking is to not give people what they want. You make what you want to
make.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 5: You should cast known faces to get money and
distribution<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Unless you’re making a blockbuster or casting one of
the five most famous people in the country, you’re not going to get money or
distribution because of your actors. What you may get, on the contrary, is a
headache from dealing with someone who is very difficult and frustrated because
(s)he is not an “A” list star.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">You’re very grateful that they have come to do your
movie. They are taking your money anyway. You’re giving them a big chunk of
your budget that you’re not going to recover. And they won’t let you do what
you want because they don’t like their side profile, for example, or they might
not like the way they look in a certain scene.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">What’s going to happen is a conflict of interest and
I’ve seen that with a lot of young filmmakers who want to cast a known face who
is not a star. They think that their first film will gain more momentum because
of that actor. But that actor doesn’t let them make the film they want to make,
nor does (s)he bring any money.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 6: You need to be a popular, universally-liked
filmmaker<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">You really don’t have to cry if your film is not a
blockbuster. Neither was Orson Welles’ Citizen Kanes. Breathless was also a
commercial flop. So was Antonioni’s L’avventura, Coppola’s The Conversation, or
any film by Werner Herzog.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Let’s ask another question – where are the
blockbusters from 1975 or 1985, does anyone care? Let’s be honest – nobody is
talking about the director of Kick.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The question of popularity is a very complex
question. What’s popular now might be forgotten two weeks later. What’s completely
written off today may be studied fifty years later. So when you think about
popularity, think about a bigger shelf life.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 7: You need to get all the finance in one go<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">If you really care to make your film, especially
with digital today, you have no excuses. You got your cast right; you’ve got
your locations. If you wait for all the money, you will never make your film.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Mumbai is full of producers who can fund your film
but it’s a very dangerous situation to have a single producer especially if
you’re making your first film. They can easily hijack your project. I strongly
suggest – don’t think about the finance as a single chunk, think about it as
pieces.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 8: You need to have a certain degree of
organization on shoot by making story boards, shoot boards etc.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">I don’t think this is necessary unless you’re making
a VFX film on a green screen. The reality is that filmmaking resists planning.
There is a beautiful quote by Orson Welles that says – A real director presides
over accidents. It needs to be understood that filmmaking is not a science. So
if you try to make something and it fucks up, don’t be frustrated. Be open to
accidents – what is in front of your eyes might be a hundred times more
beautiful that what you have sat and imagined in your room.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Don’t think of planning, think of structure. Let
those beautiful accidents make their way into the structure. Lose the script
but remember that spontaneous aesthetics demands rigorous discipline.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 9: You need to have a consistent style<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Not true. You don’t need a consistent style. A lot
of filmmakers blur the boundaries between documentary and fiction, between
different genres.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">I come from a school where I love the idea of
collapsing fiction and documentary. My first film John and Jane was set in a
call centre. It was about real people who work in a call centre but I decided
not to make a film about life in a call centre as a traditional documentary. I
decided that this scenario of people working at night with a fake American
accent reminds me of the kind of sci-fi films I used to watch as a kid where
corporations would implant a chip in someone’s brain. So I thought it would be
very interesting to merge a call centre film with a sci-fi dystopian film about
the future. You don’t have to follow genre traditions. Genres can merge and
collapse and interesting things can come out of them.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 10: There is only one way to shoot a scene<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">There seems to be a certain accepted grammar of
filmmaking, like when two people talk you show shot and countershot. You start
with a long shot and cut to a close up. While making a film don’t just presume
that things are shot in a certain prescribed way – establishing shot has to be
in a certain way, a romantic shot has to be in a certain way. There is no one
way of making a film. You can do it in so many different ways.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 11: You need people to take on definitive roles
on the set<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The idea that you should have people with defined
roles as ADs or art directors is absurd. It’s the industry way of thinking
about filmmaking. Wong Kar Wai’s art director is also his editor. Using people
in multiple roles makes the process much more interesting.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Rule 12: You shouldn’t startle the spectator too
much<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">There is always an emphasis on safer films like
rom-coms, films like you have seen before. But if you’re going to start like
that, it’s never going to rise above the surface. Nobody is going to notice
you. So throw this rule out and startle the spectator.</span></div>
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12 Tips of filmmaking

The maverick director of John and Jane and Miss Lovely [ Ashim Ahluwalia 12 Tips of filmmaking] shared his insight on filmmaking. He a...

14:00:00

Preproduction-Script Planing

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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;">A film or television script is a written document
that details exactly how the story unfolds scene-by-scene, shot by shot. It is
a detailed expansion of the treatment. Did you hear the word “details”? The
more details there are, the better the script will be able to guide production.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">With a clear, accurate script that reflects the filmmakers’
detailed intentions, camera operators will record exactly what is needed and
editors will have well-organized materials from which to choose as they put the
movie together. A script, then, is vital for helping all the people involved in
the creation of a film work together.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Even television news journalists use a script, even
when they are “live”. It may only be a notion in the reporter’s head or a few
notes scribbled down, but the reporter and crew know give report a structure:
beginning, middle, and end.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">A filmmaker should be able to read his or her script
at a leisurely pace and get a good idea how many minutes and seconds the film
will be in length.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Usually scripts go through many revisions. The
revisions come as people who have different production responsibilities (sound,
or camera, or editing) add their own details. Also, as the “Production Phase”
begins, even the best ideas meet reality and the film will have to change
accordingly. Print and share as many scripts within the production team making
sure to put a date on each version so everyone is working with the latest and
greatest version.</span></div>
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Preproduction-Script Planing

A film or television script is a written document that details exactly how the story unfolds scene-by-scene, shot by shot. It is a det...

17:17:00

Ritesh Batras 10 tips for Screen Writers

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<span style="font-family: "Arial Unicode MS", sans-serif; font-size: 14pt; line-height: 115%;">Writing is a very
amorphous career. While you are trying to do it, there is a nagging feeling
that it may not materialize. Something may not work on the page. After its good
on the page, it may not get made. If it gets made and gets good reviews, it
might not do good business and you may not get to make your next film.</span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">Writer’s block is a
constant thing. It’s always going to be there. You have to have a specific time
and place for writing every day, and you have to stick to it.<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">When you are trying to
write your first screenplay, a lot of you may get lost in saying – I want to
make this film. This is a story that will translate into a good screenplay and
I want this to be a film. You don’t know that. So instead of trying to get the
movie made, if you focus on trying to learn the craft, you will be much better
off. Use the opportunity to learn. Tell yourself that I am writing this because
I want to get better at writing. You don’t know if this is going to work or the
next thing is going to work. Don’t ignore everything else that the universe is
sending your way.<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">I don’t write a draft for
as long as I can avoid it because the screenplay format is very difficult to
solve problems in . It’s so dense. I spend a lot of time outlining the
characters and fleshing them out before writing a draft.<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">The plot-centric
screenplay versus the character-centric screenplay is the stupidest debate
ever. Both character and plot are so intertwined that to think of them
separately is stupid. What I do for myself is – I don’t think what happens next
because the universe of what can happen next is so vast that you can spend days
getting lost in the various beats of the story. I think – who is this person?
What does he/she want and what does he/she need? How can I take him/her from
his/her wants to his/her needs artfully?<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">It’s not stories that are
universal. It’s the telling of the stories. When you are writing, you
essentially boil down the human emotions that you have had or someone else has
had. Universal doesn’t mean watered down, it means going deeper into the
essence of that human experience. The truth is universal. Contrived stories are
not universal.<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">When I had interviewed
for the Sundance Labs, they had asked me what is the tone of my script The
Story of Ram. I had no idea what tone means. But I really grasped what tone
means and how important it is for the tone to be consistent, after making
shorts. As a director, your job is to primarily display the craft of your
actors in all its splendour and to keep the tone of the film consistent.
Another good guideline to follow is to know how your characters speak , both
internally and externally. That is important for being authentic to your
character because everyone speaks differently.<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">The real challenge of
doing something within a genre is to turn it around and do it your own way. In
The Lunchbox, I was thinking what if I take the conventions of the
romantic-comedy genre and do something else with them? If you follow genre
conventions, you will fail. But if you use them to your advantage, you might
succeed.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">When writing becomes a
need, it doesn’t matter where you are and what you are doing. It doesn’t matter
how many jobs you are holding. You have to push yourself in a corner and write.
But writing is also a boring process; you have to come up with tricks to keep
it interesting for yourself.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">Short films are a
wonderful way of getting back to the set. I keep seeking out opportunities for
making short films. It takes a long time for getting a feature script to work
on a page. It could take years to raise money. I am always hungry to make
shorts. If it travels, it’s great for you. If it doesn’t travel, it’s still
great because you get to be on a set. Even if you make a bad short, you will
learn something out of it.<o:p></o:p></span></div>
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<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;"><br /></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial Unicode MS","sans-serif"; font-size: 14.0pt; line-height: 115%; mso-bidi-language: HI;">Ritesh Batras <span lang="HI">10 </span>tips for screenwriters Source – http://dearcinema.com/</span></div>
</div>

Ritesh Batras 10 tips for Screen Writers

Writing is a very amorphous career. While you are trying to do it, there is a nagging feeling that it may not materialize. Something may...

20:29:00

Basic of Screenplay

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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;">Sample from a screenplay, showing dialogue and
action descriptions</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRVx4I8eMbge3z0tz2LSbiTnqxIGnTarLYks0gtzskaZ83AU4tvjeYYRVOE59bBuXXZwlKrN9cXWCN25D_xP5DnTyqaMHQH2C9orXpjbsdP2a7GzN6H9o5Osi8-E6ez1l-YSW1uvTSI3eq/s1600/Basic-of-Screenplay.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRVx4I8eMbge3z0tz2LSbiTnqxIGnTarLYks0gtzskaZ83AU4tvjeYYRVOE59bBuXXZwlKrN9cXWCN25D_xP5DnTyqaMHQH2C9orXpjbsdP2a7GzN6H9o5Osi8-E6ez1l-YSW1uvTSI3eq/s1600/Basic-of-Screenplay.jpg" /></a></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">A screenplay or script is a written work by
screenwriters for a film or television program. These screenplays can be
original works or adaptations from existing pieces of writing. In them, the
movement, actions, expression, and dialogues of the characters are also
narrated. A play for television is known as a teleplay.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Format and style<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The format is structured in a way that one page
usually equates to one minute of screen time. In a “shooting script”, each
scene is numbered, and technical direction may be given. In a “spec” or a
“draft” in various stages of development, the scenes are not numbered, and
technical direction is at a minimum. The standard font for a screenplay is 12
point, 10 pitch Courier.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The major components are action and dialogue. The
“action” is written in the present tense. The “dialogue” are the lines the
characters speak. Unique to the screenplay (as opposed to a stage play) is the
use of slug lines.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The format consists of three aspects:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The interplay between typeface/font, line spacing
and type area, from which the standard of one page of text per one minute of
screen time is derived. In the United States letter size paper and Courier 12
point are mandatory; Europe uniformly uses A4 as the standard paper size
format, and has no a uniform font requirement.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The tab settings of the scene elements (dialogue,
scenes headings, transitions, parentheticals, etc.), which constitute the
screenplay’s layout.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The dialogue most be centered and the names must be
capitalized. Also the script must always begin like this in The United States
of America, Ex. “FADE IN TO A ECU of Ricky as he explains the divorce to Bob.”,
and must always have this at the end, “FTB” or “FADE TO BLACK”.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The style consists of a grammar that is specific to
screenplays. This grammar also consists of two aspects:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">A prose that is manifestation-oriented, i.e. focuses
largely on what is audible and what is visible on screen. This prose may only
supply interpretations and explanation (deviate from the manifestation-oriented
prose) if clarity would otherwise be adversely affected.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Codified notation of certain technical or dramatic
elements, such as scene transitions, changes in narrative perspective, sound
effects, emphasis of dramatically relevant objects and characters speaking from
outside a scene.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">An overview of many classic published works on `How
To Write a Screenplay’ is Joe Velikovsky’s free “Guide To Screenwriting”. One
of Hollywood’s widely used feature screenwriting story structure texts is Blake
Snyder’s “Save The Cat!” series.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Types of screenplays<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Screenplays can generally be divided into two kinds;
a ‘spec’ screenplay, and a commissioned screenplay.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">A ‘spec’ or speculative screenplay is a script
written with no upfront payment, or a promise of payment. The content is
usually invented solely by the screenwriter, though spec screenplays can also
be based on established works, or real people and events.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;"><o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">A commissioned screenplay is written by a hired
writer. The concept is usually developed long before the screenwriter is
brought on, and usually has many writers work on it before the script is given
a green-light.</span></div>
</div>

Basic of Screenplay

Sample from a screenplay, showing dialogue and action descriptions A screenplay or script is a written work by screenwriters for a...

18:00:00

Article of Filmmaking

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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;">Filmmaking (often referred to in an academic context
as film production) is the process of making a film, from an initial story,
idea, or commission, through scriptwriting, casting, shooting, directing,
editing, and screening the finished product before an audience that may result
in a theatrical release or television program. Filmmaking takes place all over
the planet in a huge range of economic, social, and political contexts, and
using a variety of technologies and cinematic techniques. Typically, it
involves a large number of people, and takes from a few months to several years
to complete, although it may take longer if there are production issues.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Film<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">A film, also called a movie or motion picture, is a
series of still or moving images. It is produced by recording photographic
images with cameras, or by creating images using animation techniques or visual
effects. The process of filmmaking has developed into an art form and industry.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Films are made up of a series of individual images
called frames. When these images are shown rapidly in succession, a viewer has
the illusion that motion is occurring. The viewer cannot see the flickering between
frames due to an effect known as persistence of vision, whereby the eye retains
a visual image for a fraction of a second after the source has been removed.
Viewers perceive motion due to a psychological effect called beta movement.<o:p></o:p></span></div>
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<br /></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The origin of the name “film” comes from the fact
that photographic film (also called film stock) has historically been the
primary medium for recording and displaying motion pictures. Many other terms
exist for an individual motion picture, including picture, picture show, moving
picture, photo-play and flick. A common name for film in the United States is
movie, while in Europe the term film is preferred. Additional terms for the
field in general include the big screen, the silver screen, the cinema and the
movies.</span></div>
</div>

Article of Filmmaking

Filmmaking (often referred to in an academic context as film production) is the process of making a film, from an initial story, idea, o...

17:00:00

Co-production Market

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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 14pt; line-height: 115%;">Co-Production Market is the first programme of its
kind in South Asia to provide a platform for filmmakers with South Asian
stories to make the right connections to get their projects financed. Every
year Film Bazaar’s Co-Production Market invites a select number of
directors/producers to present their projects to co-producers, funders,
distributors, sales agents and other financial partners from across the world.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Once the project selection is completed, the Film
Bazaar team creates a dossier of information on the selected projects. A master
list of attending guest list is put up on the website. With their unique login
and password, participants can set up meetings in advance. In addition, the
Film Bazaar team exclusively dedicated, provides intensive individual support,
helps in setting up these meetings during the Co-Production Market. The
accredited guests have a free access to all Film Bazaar activities – Industry
Screenings and Knowledge Series as well as access to IFFI.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">FB Co-Production Market 2013 showcased 28 South
Asian projects from across the globe including an Independent Filmmaker
Projeimoirtact, USA.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The eighth edition of Film Bazaar Co-production
Market will take place from 21 – 24 November, 2014 in Goa.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Application Process<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The Co-production Market application process for the
8th edition of Film Bazaar is an online process comprising of a total of 6
stages. You may pause, save and exit your application at any stage before the
payment gateway and return to complete it at a later date.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Please note that this is possible only until the
deadline – July 31, 2014, of the Co-production Market. Post this deadline all
forms whether complete or incomplete will not be available for edit/completion
unless otherwise stated.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">You will need following information at hand when
filling up the form.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Basic information of the applicant, director,
producer.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Project Details</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Project Synopsis (Max. 350 words)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Project Treatment (Max. 2000 words)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Director’s statement (Max. 1000 words)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Director’s Profile (Max. 300 words)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Director’s Filmography (Max. 300 words)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Producer/Production Company Profile (Max. 300 words)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Producer/Production Company Filmography (Max. 300
words)<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Letter of commitment of Financiers | Partners
towards the projectSubmission Deadline – 31 July, 2014 Application Fees – INR
5,000/–</span></div>
</div>

Co-production Market

Co-Production Market is the first programme of its kind in South Asia to provide a platform for filmmakers with South Asian stories to...

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