/swg/ Screenwriting General
What are you working on?
Have any ideas you need help developing?
Help other anons, share your work, give advice, learn something.
also i am a jewish millionaire and i will steal all of your precious golden ideas right out of your brains with my intellectual property sucking proboscis hahahaha
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*/swg/&/fmg/
/swg/ is dead
I can't seem to delete threads so here's what I posted in the /fmg/ OP:
I'm trying to write something for Sundance's film competition, but I feel like my foundation is a little thin.
It's about a guy who's friends buried him after a particularly nasty bender, and him trying to piece together what happened.
My problem is, I have no actual plan for how the story should go. I mean, I don't really have an end goal, nothing to build towards beyond "Oh yeah, we buried you because we were fucking plastered and thought you died".
Where the fuck do I go from there
GET OUT OF HERE YOU FUCKING FAGGOTS
THIS IS FOR WRITERS NOT PLEB CUNTS
IM JUMPING OFF A BRIDGE RIGHT NOW AHHH
Wait no
I just wanted some advice
Let's say they were partying, shit goes wrong, he's fucked up, they think he's dead. They can't tell the cops, they could get in trouble. Maybe they were doing something bad, maybe he didn't know about it. They bury him in a vacant lot or some shit, or maybe they take him out of the city and bury him in the woods. He emerges from the earth, reborn in nature with his body cleansed of the toxins the city gave him. He goes about discovering what's happened to him, learns what his friends were up to. Maybe they were glad he'd died, maybe he saw something he shouldn't have. Maybe they're not too happy he's back. Maybe there's some conflict there. Some violent crime related conflict, eh????
Or it's about breaking free of addiction and getting back in touch with your humanity. He is buried and must go through hell to get back to his friends, work hard to prove he's back on the wagon. More of a drama that way.
I know, I'm just being a dick. cause the only reason i made /swg/ was because you made an /fmg/ without it being combined, so i thought i'd take the opportunity to get back to classic /swg/ but sure enough you come jumping in here, i just thought it was funny.
anyhow i gave you some advice this thread, however i would not listen to the guy in the other thread. i buried my friend once and he got pretty mad
REEEEEEEEEEEEEEEEE
Had one where five different people wake up in a locked room with amneisa and are all dressed in odd apparel. They begin to turn on each other and early on one of them dies. Every time someone dies one of the four locks falls off the door. They begin to realize the each of there garb relates to how they lived there life (example: somebody has a monster mask stitched into his face and used to beat his wife and daughter). They begin to realize each of them is dead and only one gets to go through the door while the others must stay behind (by being killed...again). They must judge who dies and each one has a story and all of there deaths are connected. The ending has our main character killing himself so that another may leave. Once she leaves she wakes up in a hospital bed and the movie ends. I couldn't get the dialogue engaging enough and it began to get stale and confusing. Scraped it and moved on feel free to use some ideas or give pointers. It was the only screenplay I tried to write. Any questions I'll try to answer as well.
I'm taking a creative writing course this term because I need the easy arts credits and they wouldn't let me take acting. One of our assignments is a screenplay. Can one of you write one for me?
Did you ever read No Exit?
Shit nigga just write one, goddamn. They're the easiest thing to write if you just don't give a shit. Hell, just turn in the John Core script
My ideas are bad
No ideas are bad, every single idea can be mined for a great script. You just gotta dig in the right places. Anyway since this class is just creative writing and they probably have an English teacher, not a screenwriter or even a film person in general, you don't have to churn out Citizen Kane. Just write something you think you would like to see as a movie. Assuming it's a short, right? You can write 20 pages in 10 minutes if it really starts flowing.
No but I got the idea from a twilight zone episode titled "5 characters without an exit." I don't know if that episode is based on that but thats where I came up with the idea.
Kek, it's a combination of the titles of No Exit and 6 Characters in Search of an Author, that's pretty clever. Don't think I've ever seen that episode, thanks for telling me it exists user
>i will steal all of your precious golden ideas right out of your brains with my intellectual property sucking proboscis
"He could always sniff out a good story"
I answered you NOW LET'S TURN ATTENTION ONTO ME
I need an opening scene for my film. Written everything else. I'm torn between:
>Shows footage of 80's Heavy metal Guitarist on stage, center of attention. HUGE stage presence
>Cut to half an hour later: him out the back of the loading area, music thumping from inside, while he smokes a cigarette alone
>Narrator speaks over this scene, basically saying band is about to break up and he's going to fuck off from the limelight.
Or:
>Somekind of one-take POV dream sequence shot that basically ends with a ringed hand (who we later learn is the rockstar) grabbing the hand of a girl like pic-related. Except more Victorian.
I'm not sure what kind of imagery or sound design to populate it with. Maybe like shadows moving behind larches or some kind of skinny trees.
Dude I'm gonna need to know more about your story for any of that to make sense. Both those things sound kind of shitty in the way you described them
Much obliged user. The episode is just ok and has a dumb twist that won't spoil but my vision was to do a version that did the idea justice. A lot of the characters where similar to that episode. I had a guy dressed as clown, a monster, someone in a straight jacket, girl in a long dress who was a hooker and a man in black who was the main character. We learn that he was a lazy man who never involved himself in life and killed himself. His redemption was him finally doing something for someone by ironically killing himself again but this time to save a life. A fun writing session but overall a frustrating story that I just kinda gave up on.
Without going into too many details, because it's a first scene I kind of want something that stands on it's own feet.
Theme is loneliness.
Heavy Metal dude is kind of like a David Bowie sort of thing, like he plays a character on stage because he's desperate for love or some shit. Like basically EVERY rockstar ever.
All characters in the film are professionally "communicators".
>Lol, he's a Publicist, but he can't TALK to his own wife
Kind of thing.
The girl comes up later in the film, think of the story "Spring of Filata" by Nabokov except roles reversed.
I really would recommend reading both of those plays, they could invigorate your ideas and get something flowing
I would go dream sequence then. Sounds like it could be interesting but dreams are hard to nail. I think Brazil has really good dream sequences, really gets the atmosphere right. Also you may want to check out Buckaroo Banzai, there's a really cool scene where the main character and his band have a concert
If the theme is loneliness. You should do a slower surreal dream sequence of him grabbing the girl. This will grab the audience and also set the tone if done right.
>Buckaroo Banzai
Thanks for the recommendation dude.
Any visual imagery you suggest?
Should I mine and borrow from the iconography of Heavy Metal at all?
Or should I just try and externalize the psychology of the character, think about his personal symbollogy?
>Facepaint?
>Stage lights?
I would suggest the psychology. What are this characters traits and does he think highly of himself? How would he see himself in his dream and how would he see others. Face paint lights can all come into play in showing how this character thinks and feels through visual imagery.
You could go kind of surreal with the stage scenes. You know, to show the absurdity of the personality he creates. Crazy makeup, clothes, and hair. Ridiculous pyro and stage dressings, stupid cheesy lyrics to generic metal songs, all parts of a fake persona to hide how he really feels
Took me forever to write this, so hard to condense a character:
>Yes he thinks very very highly of himself
>He's very personable and even charming, but it's kind of superficial and at times disingenuous
>Hyperactive.
>to show the absurdity of the personality he creates.
I like that.
You know whats best for your character. I'd really have to read the script and know everything about him to get anymore specific. Sorry user. Good luck with your script m8.
That's been done before, it's called Alpha Dog
No problem, even just these few posts with you anons have pushed me further along that I was an hour ago.
atm looks like I'm gonna go the dream sequence route. if only because I'm a reluctant formalist and anything that lets me fuck with the style and use sound design is catnip to me.
Truth.
>Just turn in the John Core script
FUCKING DO IT BE A LEGEND
Thanks y'all, I think I've got some ideas along with yours I think I'd like to incorporate.
Think it'd be interesting to sort of play with the idea of being a "ghost" in both the literal and figurative senses. His friends don't really want him and his family never knew he was gone/didn't care.
I can do this... I can do this.
Here's and idea.
Opening scene POV our character is on the stage drugs flying everywhere. Naked ladies dancing with big ol flapjack titles hanging out all over the place. We got tigers horses and chickens running around. Why? Style thats why. We then slow down get some nice slow synth music and then we see dis bitch who grabs his hand. Pure Kino user. :Pure fucking Kino.
An inversion of "It's Wonderful Life" perhaps?
Not sure how original the idea is, but I can certainly see the idea of ghost in life, ghost in death working quite easily.
The question becomes, why are we sympathetic to a guy who was so unastounding, so boring that no-one noticed?
I guess then you could maybe shift the focus from him to his friend, turns out this boring guy left him a huge fortune or something in his will because he was "the closest thing I had to a friend". In fact maybe it's not a will, maybe this friend just notices something askew during the funeral, something that goads him to investigate.
Meanwhile we have the constant commentary of the ghost
>No, you idiot, I left the gold watch right there! Don't go to the neighbour's house... Ahhhh... come on!?
i'm just throwing out ideas, none of them necessarily good. Just spitballing.
Kek.
>The song he sings has the lyric
>"Take Mahhhh Haaaand"
PURE POTTERY!
Had an idea for a short film where a kid goes to his own funeral as a ghost and looks at all the people pretending to have loved him. He then comes to the revelation that it was better to be ignored by all then to be used by people for there own self justification. He walks to a park bench and sits alone as ghost in the night as it begins to rain. Kind of a feel bad movie but with good writing it could be ok. maybe? i don't know..
That's one way of looking at it I think.
I partially want to keep it ambiguous as to whether or not he's actually dead. Like, I still want him to be having conversations and stuff, but I want it to feel like they basically only noticed a voice. There's a scene I have in mind where he confronts a friend of his that works at a diner. The MC talks to him, but he seems really stuck in his work and barely notices the person he's talking to. Have a lot of the interactions start like how people would recognize Snake Plissken in EFNY:" I thought you were dead" in a real unsurprised fashion.
Depressing views on the world are more difficult to execute than depressing subject matter I think, how does he come to that revelation?
Why did they "pretend" to love him?
You have to find a way to dramatize those ideas, either through flashbacks or through two attendees at the funeral talking about the dead kid in such a way that as an audience we realize their true motives, but they're trying to convince one-another of otherwise.
More difficult to execute.
Also I feel that's certainly more cliche, I think I feel like I've seen a lot of TV comedies where the character goes
>Oh my god, maybe I REALLY AM dead?
Although the notion of him being just that dull that people don't even realize they're talking to him could be very funny.
If you think you've got a good spin on it, try it.
After Fox's The last man on earth show sucked I thought about writing my own show about that same concept. But I wanted to really have the main character really be the only person on earth so I figured the best way to do that was with hallucinations of loved ones where he has conversations with them and tells them things he would tell them if they were present accompanied by a few flashbacks. Should I try writing this? Advice/criticism/suggestions?
As I'm writing it, I'm realizing this is becoming a bit of a metaphor for my own life, and as such it's less comedic and a bit more somber (though only slightly).
write it. even if its shit. get those creative juices flowing.
Eh, I think it'd be more interesting if you literally just had him be alone, no talking to imaginary people at all. Maybe a dog or something. But seeing the day to day life of a man alone on Earth would be neat. Especially if you just had him travel and do whatever he wanted in new places each day. Could be kind of a comedy seeing him break what we think of as social norms and just fucking shit up to be funny. Drama/horror could come into it when he starts getting paranoid that he might be alone, feels like he's being watched or something. But he's not, he just wishes life was more exciting than it really is. BOOM It's just a metaphor for how we live our lives, we might as well be all alone for how much we actually effect others and we also desire meaning that we can't find. Hot DAMN you better write this shit
It would have been more fleshed out. I was just talking about the general outline of the movie. Thanks for the ideas of execution I may revisit it.
What's the theme? The message? What does it say about the world?
>How is this premise suited to your "voice" as a writer
While that can be a good therapeutic exercise, writing in a dramatic form can allow you to exorcise many things in you head the script as a script may suffer because of your emotional closeness to it.
I mean, I don't know you, and maybe it won't. Just saying.
I guess I felt as a premise it wasn't compelling enough on it's own.
Mainly because it's all so internalized.
There's sort of a cliche that stuff about psychology and thought make better novels while action and (physical) journeys make better films -- that's not absolutely true, but it is something to consider when developing a premise.
That may work better actually. A short story rather than a short film may be an easier execution. It's a shame though because I'm not as good at novelization as I am at screenplay.
Yeah. I'm looking at some of the other films right now, the ones that have been submitted, and the successful ones seem to be like the artsy, sad piano music behind pretty visuals and deep monologues shot on film.
I want mine to feel different, but in a way that isn't like LOL LOOK AT MY TRASH.
I will. Just to get started on something. This is semi related but I was thinking of taking a course this semester on screenwriting. I asked some people and it was 50% yes and 50% no. I also asked around on Sup Forums and they all said no for various reasons. Mainly that I could just learn myself and "Academia is shit". Just today I thought I should check if the class is full and maybe just attend the orientation but it turns out the class is closed because the mandatory orientation was last Friday. I don't think I lost out on a lot so I'm not complaining. I'll just teach myself.
All of these are pretty good suggestions. Thanks, user.
>What's the theme? The message? What does it say about the world?
>>How is this premise suited to your "voice" as a writer
I hadn't actually thought of a theme but it could be a message could be that we shouldn't take the people in our lives for granted. A bit corny but now that I think about it this is literally the main issue I'm dealing with in my life at the moment. How ironic.
3 hr movie no talking just one guy walking around doing mundane shit in the apocalypse. No score just raw noise. Critics will eat that shit up.
look at it as a good opportunity to learn?
Or you try and find a way of externalizing the thoughts and write the script. Do whatever attracts you more.
>the successful ones seem to be like the artsy, sad piano music behind pretty visuals and deep monologues shot on film.
Then you have to man!
Like do something with substance, but trash it up on the outside.
Duchamp them!
>could be a message could be that we shouldn't take the people in our lives for granted
Corny, but not exactly unimportant.
Write down a list of all the people you think you should have appreciated more, think about the ways they enriched your life, the ways that showed you love or friendship...
That's gonna be the starting point of the character arc.
Now you need to think about the dramatic question: like obviously he needs to survive in this post-apocalyptic world, but generally audience's need a goal, he needs a clear objective, even if it is he wants to build a raft to float over to an island where he knows there's supplies.
Start thinking about what triggers the flashbacks or regrets. weave them into the pragmatic quest to survive. He doesn't need to be having the flashbacks themselves,but you need to integrate the A and B plots.
I was thinking tv show at first but the advice given itt made me realize it would be too difficult to turn that into 40 minute episodes.
>Write down a list of all the people you think you should have appreciated more, think about the ways they enriched your life, the ways that showed you love or friendship...
oh fuck. here come my emotions.
>Now you need to think about the dramatic question: like obviously he needs to survive in this post-apocalyptic world, but generally audience's need a goal, he needs a clear objective, even if it is he wants to build a raft to float over to an island where he knows there's supplies.
>Start thinking about what triggers the flashbacks or regrets. weave them into the pragmatic quest to survive. He doesn't need to be having the flashbacks themselves,but you need to integrate the A and B plots.
maybe he changes the oil on a car and this reminds him of his father who thought him how to. Maybe a flashback and when we cut back to present his father is there and they begin to talk.
I could try following this type of format. I'd need to be careful in all of the conversations though to not reveal things that he wouldn't know. And maybe tries to get a boat to work or get across the country. I'm sure there are a number of problems in doing that alone.
This isn't necessarily related, but I'm working on a new music project that's supposed to be music from a punk band in a dystopian, cyberpunk future. But that future is today's world. Like, we are living in a worse future than Soylent Green, Blade Runner, Brazil, or anything else could have imagined. So this is going to be kind of a tribal punk band with electronic elements in addition to plain old trashy punk guitar.
Can anybody recommend me any dystopian/cyberpunk movies to watch? Also ideas for building a cyberpunk world through songs instead of a script?
I know this doesn't really fit Sup Forums or /swg/ for that matter, but it's kind of more movie related than Sup Forums at this point and this is really the only thread on this board about creativity so I thought maybe you guys can help.
The band will be called Sickener and the album will be about being on the fringes of society, being the kind of person that sickens the society around you. Imagine if you discovered your prime source of food was people, or some other horrible secret about the world, and you tried telling everyone but no one gave a shit. Like it was just fine with them. And not even the future military cops would beat you up, since they know everyone knows what you know and it doesn't matter. You can't join an underground rebellion because they also don't care. They're just another part of the bullshit society, they have their own lame code of what's cool and what's not and it's just more fake pseudo culture. Even the counter culture has become a part of bullshit capitalist conspiracy and if you don't buy into it you aren't even accepted by the punks. That's the world I want this music to come from.
Hell, typing it all out, it even kind of sounds like it'd make a good movie. Maybe I'll write that too.
A boy falls in love with a girl.
Unable to confess, he is gifted by a deus ex machina with the girl's phone number. Never minding the strange area code, he immediately calls her, and is overjoyed to find out that she has a crush on him as well.
But, the next day, when he recounts the previous day's confessions to the girl, she only looks at him with a perplexed expression. After some investigation, he finds out that the girl he called is not the same girl he fell in love with. In fact, she doesn't exist in this universe at all. She is the girl's alternate universe counterpart, who has fallen in love with the MC's own AU self, who too is blissfully unaware of her crush.
Hijinks ensue as the two strike up a deal to give each other their darkest, most private secrets in order to equip the other with the weapons they need to conquer the heart of their other selves. While the two chase their respective loved ones, DRAMA ensues as they begin to fall in love with each other instead and question the NATURE of LOVE.
OP: youtube.com
ED1: youtube.com
ED2: youtube.com
PV: youtube.com
EP 1: youtube.com
EP 13: youtube.com
...
y u do ds?
Stop posting that because it's already a thing.
FINDS
So I've had a dry spell lately. No ideas, no inspiration, no nothing. Was kind of down.
I just got back from Waffle House at 2AM, hungry, not tired, and kind of wanted to think and maybe get ideas. I had been mulling over an idea involving some guy at an airport deciding whether or not to go to Africa on a mission trip, or stay and marry his girlfriend. It was about as fun as it sounds.
At this damn Waffle House I was sitting there, waiting on my All Star Breakfast, I took stock of my surroundings. There was a skinny guy who was probably 19-years-old, but obviously didn't do much after high school. There was a woman who waited on me, maybe my age (mid 20's) and was quiet but friendly. Then, coming in around the same time I did, was a man in his 40's who apparently a late-night regular they both knew, and they engaged in what I could only describe as pointless but brilliant chatter and I just kind of fell in love with the situation I found myself in. The teen talked about he and his buddies setting a mattress on fire outside a fire station so they could tag it. The mid-40's man played the role of sage and gave some wise advice about how he's gonna look back on these years and life, but shake your head in disbelief. He talked about how his kids were gonna be fucking crazy. Everyone laughed. They shot the shit and talked about the damn county lines in a way that actually was funny and interesting. Then, a homeless man came in and asked for money. Then, they played "Wagon Wheel" on the jukebox.
By the time I had finished my meal and paid, I just felt like I'd watched a brilliant little indie short about a conversation and great characters. I loved it.
I don't know if I'll write a screenplay called "Waffle House at 2AM" but it taught me that sometimes super simple ideas - like a conversation between realistic characters at a diner - is all you need to make great art.
I want to shoot a music video for this song: youtube.com
A guy on a motorcycle speeding through an empty city, (somewhat apocalyptic) with a girl at the back, who is humonoid, but not of this world. Setting would be at night, barely any electricity, so you can see more stars. Slight neon colour palette.
Just enjoying the cruise in a torn world. I guess I just want to feels it the fuck up.
Having someone with you, no matter how bad the world gets kind of shit.
I don't know. I wish I had a solid as fuck camera to shoot with.
Only films that come to mind:
>Jubilee
>Dekoder
I suck at poetry but seriously dude, listen to some Leonard Cohen, maybe Tracy Chapman or something, singers who talk about minutia and details -- the "social realists", listen the way they describe the details of a scene and then replace that with some cyberpunk stuff. Even Kendrick Lamar does really good scene setting.
Like there's a line where to describe a middle class neighborhood he mentions the girls "no extensions", that detail pins it down exactly.
You need to think of a Cyberpunk trope that has the same impact.
your rebellion will probably be a Braveheart kind of monologue done to a musical crescendo.
I like it. very Jim Jarmusch. I'm not sure if it can sustain a film, but when you try and think about those characters, and maybe use that Waffle house as an intersection point... maybe think back to American Graffiti,
Fuck, dude, I LIVE for 2AM Waffle House conversations. Maybe not specifically those times/locations, but I love the feeling of watching conversations with night weirdos. It's gratifying, watching the interplay of stories between people (especially at night, people's souls get laid bare at night).
I had this guy come into my work, I never knew him, but I work at a theater and he asked me how Cafe Society ended since we weren't showing that anymore. I told him that it ended with Kstew getting Carrell but still kinda longing for Eisenberg, and he launched into this story about how he knew a girl who fell in love with a guy that was like 40 years older, apparently she became a doctor or some shit.
It was just some fascinating pointlessness, and made me feel better the whole night.
>want to make good, meaningful stuff
>don't believe I'm at the point where I can make good on that as much as I want to
The endless cycle. The everlasting meme.
shit nigga just watch drive or the guest
I have ideas for short skits and films, but I don't have the equipment for the way I want it to look visually. Fucking bullshit.
>I don't know. I wish I had a solid as fuck camera to shoot with.
Haaaave you considered using a shitty camera and datamoshing?
Old VHS Camcorder.
>I've seen an art project/film with this kind of vibe, very fashion videoey. Was kool.
>They shot most of it under an old gas station
You're gonna be shooting in a studio anyway, like you could try and gun and run in your local China town or Red Light district, but you might as well just accept that since you're making a sci-fishish video you're gonna go stylized. Like Wes Andersson... or considering the song: Kung Fury.
That way you can gel up some spinning lights, put up a mask which you can composite in a futuristic sky.
that also means you can have a lifeless, dark, electricity-rationed cityscape.
You're probably right.
Teach me how to into the datamoshing meme
...
This isn't sci fi but try City of God. I suggest it because it has a really brutal but the only time I ever watched it was when I was 9 or 10 and holy shit I found it hard to watch. Just knowing that stuff like that was happening somewhere on this planet was disturbing, even now.
When you realize that you create film, and its your audience that creates meaning/meaningfulness, it is very liberating. Tell a story. Don't get bogged down with meaning. Just tell a story. Your audience will project and apply their own meaning.
Even idiots will find meaning in the stupidest shit. Geniuses will find meaning in utterly brilliant art. But guess what? They both find meaning. "That's not really what I was going for..." is not even a thing.
Thanks man, never heard of Dekoder before. Appreciate your help
I got an old sony camcorder laying around the house.
What's datamoshing? Whats the highest resolution I can render the final video through this whole process?
Go for simplicity.
One take, two good actors.
Perefect the dialogue
BAM. amazing film.
DSLR and vintage lenses that cost under $100 but look beautiful and retro.
DO IT!
>I don't want to seem like I'm not appreciative of the struggle to make a film that meets your vision.
>It's hard. It's tantamount to torturing yourself
>But sometimes you need the kick up the ass.
I found kind of the opposite.
>Make a non-dialogue film
>Abandon three different subtexts I had because non-verbal
>Audience still gets those subtexts.
I've seen that, I know what you mean though. Really creates a fully fleshed out, oppressive atmosphere to the world. Shit you would not want to be around
I got a Nikon D90.
Is that good enough? Everyone else has fucking Canon EOS Godtier Mega 4, or whatever the fuck.
>tfw shitty idea for horror/artsy short
>born one day when I realized the view from my desk is perfect for a restricted camera view short
>vision is blocked on the left side by a book case
>wall behind desk is far behind, with a mirror there to give view of the desk
>turns off into hallway to the right
>close by to the right it turns into a room, and to the left a small corridor
>idea would be of a paranoid man, who has begun seeing things
>would be presented as a series of logs as he goes from believing he is insane to believing they are real
>would use messages left on an answering machine when the guy wasn't there
>would insert moments of stillness where he isn't there
>take you from a sane man to a more and more paranoid one, with no vindication that what he is seeing is real
>ends with him hanging himself
Download avidemux.
transcode your source footage with like one keyframe every 100 frames or something ridiculos.
Go through in avidemux and delete keyframes manually.
Export.
Happy to help.
Datamoshing is glitching on purpose.
The art of it is finding imagery where everything but one element is motionless. There's a really great video called "Panic in Needle Park" where someone took a montage of every Seinfeld Kramer bursts through the door moment, and it creates this liquidy stream of Kramer chustbursting into the middle of the image constantly.
Cartoons work really well with Datamoshing because of Cells.
the camcoder will have tiny resolution, but on a project I'm working on at the moment I upresed from a VHS tape and it looks cool as fuck.
>I shot it in HD, then squeezed it down onto a VCR, then had to export that to DVD and rip the DVD to get it back on my computer
>Going to invest in a USB-to-Analog interface to save me the DVD step.
Wow yeah that's true. Thanks user.
If it's what you got. Use it.
I'm not familiar with that particular body though.
you might want to invest in an off-mike sound recorder.
I personally don't like the look of Canon lenses create and even the way they process their signals, but that's a taste thing.
I do notice that it has a HDMI output... that's good if you want a HDD external recorder.
*off-camera sound recorder.
Found the video.
>vimeo.com
Yep that's it, perfect illustration of Datamoshing there.
Also the kind of footage that works well for it.
One word of advice.
Try to export to a intra-frame codec so you can hardcode the moshes.
So I have free time to write an original screenplay but I have several options, and I don't know which I should start with so here we are:
Vietnam war rag-tag team
Semi-realistic space adventure
Heist comedy
CIA action adventure
Slasher horror in the woods
I dunno man, from this barebones genre info these all sound interesting. Give us deets
Which one describes you best
Are you writing
>for fun?
>Improve your craft?
>therapy?
>career?
I want to write a screenplay about a security guard and his depressing life.
show him working at a club with a sad look on his face while everyone else has fun, show him getting punched by people when he tries to break up fights and girls laughing at him.
then i would show him going home, with a slightly sad demeanor, walking into his shitty apartment and playing counter-strike until noon the next day, then he goes to sleep and wakes up for work at 5pm.
then i realized that i dont need this movie. it is my life.
Write it anyway
I don't really have details cause I just want to think of something as I go along but I'll try my best.
>Vietnam war rag-tag team
A platoon of guys get lost in the Vietnam jungles and have to fight for their survival along the way to the rendezvous point. Many hardships are faced along the way.
>Semi-realistic space adventure
A former mission control operator is the last surviving member of a team who launched an interstellar probe, which has now gone missing. He is sent alongside real astronauts to find it and decide what to do with it. They encounter strange things along the way.
>Heist comedy
A gang of sociopaths must pull off the greatest heist in history, in broad daylight, in the middle of Manhattan. They know exactly what they're doing and they assume the man their robbing does too, and they plan accordingly. But the man their robbing has no idea what he's doing. They don't know that.
>CIA action adventure
You know what this is.
>Slasher horror in the woods
Something in the vein of Friday the 13th or Halloween, but with a killer like Norman Bates, the kids see his face, know his name, and talk to him. But they don't KNOW him. He picks them off one by one but calling for some back up will bring a whole lot more trouble.
I want to improve my craft but also for fun a little and I kind of want to get recognized and maybe get some work.
Well I think the Vietnam one sounds the least interesting from these descriptions. fuck it, write them all. The heist one and the slasher sound the best to me
Whatever happened to that skype group?
>tfw too autist to join
I like the Heist Comedy. lose the "sociopaths must pull off" -- that I don't like.
What I like is that they have this super planned, and are doublebluffing on the man their robbing, but he doesn't know. I love that complication.
Sort of reminds me of Match Point where it's sheer luck that he gets away with it all, except in reverse. Don't make it self-serious like The Killing though.
In fact it could make an amazing farce.
Although part of me really wants to read the CIA one. I mean, it's a big script right?
shit nigga idk, haven't seen that shit in months and was never a part of it anyway
How cheesy is this?
Is my format shit as fuck?
lowkey working on Sup Forums the script
set in a dystopian society where theaters are run like in the fake stories on here and on the yearly singles allowance day the protag fucks up by not laughing at ghostbusters 27 and gets sucked into the popcorn mines. he is rescued by the beta uprising's F.R.O.G. unit and joins up. their mission is to assemble a team to fight the evil overlord, the fedora wearing giant brain known as The Red It. They go on adventures in the wastelands (fighting australian shitposter ghouls) to recruit the birthday snatcher, a legendary mercenary, as well as The Just One, a mystic figure of hope, among others. Still kinda working on it, most fleshed out scene i have in my head is them having to go to Little Saigon part of town and being ambushed by gooks. Marky Mark comes out of nowhere to save them, it ain't me starts playing, and they shoot their way out leaving a pile of thousands of dead nips below their hovercopter as it takes off
For you.
ninjas are goofy but idk, maybe it works for your story
anyway, looks like you're writing a shooting script. you can't put in so many details on what's being shown on camera and stuff for a spec. also this is just a me thing but i think you capitalize way too much stuff. should be used sparingly for major emphasis, if at all
I think actually the camera stuff is more decided by the director UNLESS you are directing yourself.
Kino of the highest order
As long as it's not a bunch of directing notes, you can throw general scene awareness stuff in.
If you've ever read the scripts for the Friday Night Lights TV show, those are full of directing scenaries because of Berg doing it
>tfw your screenplay about two sisters with a bizarre and dysfunctional relationship isn't written yet and soon Dakota and Elle Fanning will be too old to play the roles as you originally envisioned them
kill me
>scenaries
honestly don't even know what this word was supposed to be, I'm sleepy as fuck
Sorry had to reply again so you'd get an extra (You).
Yeah I admit I was being a little over the top when I said they were "sociopaths". I guess I meant that some of them aren't exactly the most 'normal' people in the world.
Also about the CIA script I actually have a tiny bit written already but I do not plan on writing more for a long while. I want to actually work on other things since this one script is such a big undertaking.
You really REALLY need to learn how to write clearer action.
You overuse caps.
I'm going to get like autistically minutia here, because I believe in holding people up to the highest standard
>re: John Milius talking about Irwin Blacker
That first paragraph is okay.
That second scene is a dog's breakfast.
"Tight on Triad'
"He starts Spraying the walls"
So wait, is this two different camera shots?
"Triad Leader POV"
Wait, I thought Triad was the guy's name.
>"Blue Ninja walks towards the CAMERA"
Where is the camera? Are we back outside with the Pajero and the Cargo?
Is the Camera Triad's pov, why don't you just say that?
>"INTER-CUT"
No. Just no.
You cut. Not intercut... this is a regular cut.
or just describe the person's face or action.
Inter-cut is for a phone conversation.
or when you have action happening in two different scenes.
>Blue Ninja Stands Unsheathing his sword"
Never EVER EVER. say someone "stands" in a screenplay. Screenplays need action verbs.
He can tense, he can, wait, he can be "ready to pounce"... but not "stands"
>Blue Ninja Strikes
Strikes what? Who? Is he using the sword?