三视图怎么看-目无余子

Part I: So You Want to Write for Pictures
In tall begins with an idea. You are driving through the city (or stuck in traffic as the case may be) when a childhood memory flashes before your eyes. This would make a great film. You’re reading a newspaper, and a third-page crime scene sparks an array of chilling images. This would make a great film. You’re minding your own business in some public forum when you overhear a startling conversation and — you guessed it — this would make a great film. This part of the book is about the all important idea — finding it, nurturing it, imagining it on the screen. Because you know what? It probably would make a great film, and if you don’t write it, who will?

In This Chapter
_ Getting an overview of the screenwriting process
_ Putting your ideas on paper
_ Revising your work
_ Selling your script
Screenwriting is a craft, and like any craft worth pursuing, you can never know too much about it. You wouldn’t tell a doctor to stop scrutinizing advances in medicine, would you? Can a teacher ever learn enough about education? This chapter provides a glimpse of screenwriting and alerts you to where in the book you can go to find it. Consider it your preview of coming attractions.

Thinking Visually
Quick — in what children’s book does a character require green glasses to enter a city gate? If you answered The Wizard of Oz, you’re absolutely right. Dorothy needs green glasses to enter the Emerald City. And while they cut this detail in the film version, the question is nevertheless relevant to screenwriting. It’s a question of vision — what do you need in order to see where you’re going?
Screenwriting requires a unique vision, eyes trained to scan the world with particular acuity. It seems silly to say that screenwriters look at the world with a visual eye. Of course, they do. Doesn’t everybody? After all, looking is a visual act.
And yet, there’s a distinct difference between what screenwriters see and what people in other occupations see. Screenwriters break the world down into visual clips or scenes — in other words, into moving pictures. And screenwriters see with more than their eyes. Consider for a second that it’s possible to see moving pictures while
_ Observing the world around you
_ Reading a novel, a play, or a poem
_ Reading the newspaper
_ Listening to music
_ Listening to someone else’s story
Screenwriters look for moving pictures in everything, though some sources yield more than others. Want to know how your vision stacks up? Find a public place, sit down for a while with a pad and pen, and write down what you notice. Then, flip to Chapter 2 and find out how visual your eye really is.

Developing the Writer’s Mind
Imagine a storage facility, with aisles and aisles of file cabinets, some overflowing and some empty but for one scrap of paper. Or imagine a playground full of children, yes, but other people as well, people you wouldn’t expect
to see. Maybe two construction workers are playing basketball, or a few CEOs are eating donuts on the lawn; students and couples and blue-collar employees are all in the same space. Or imagine a long hallway full of doors. Occasionally, people emerge, have an exchange of some sort, and return behind those doors. Now, imagine a blank canvas. Paints and brushes sit nearby, but they remain, as of yet, unused. Any one of these spaces may resemble the mind of a writer. Writers collect and store tons of details. They amass images, pieces of conversation, intriguing characters, sounds, expressions, slang, and more. They also costume what they find, envisioning different outcomes. Add some boots, some dust, and a gun — voilà. You’re in a western. Dim the lights, strip away the color, and give everyone a cigar — presto! You have the black-and-white, suspense-filled world of a film noir. Introduce a spaceship or a time machine, and suddenly, the world becomes science fiction. This is how writers spend much of their time — not exactly a dull profession. So, I suppose that the question here is, What does your mind look like? If you want to find out, turn to Chapter 3.

Approaching Screenwriting as a Craft
Writers take their vocation very seriously. They’ll do almost anything to inspire that muse, and I do mean anything. Rumor has it that
_ Alexander Dumas color coordinated his paper with the type of fiction that he was writing. Blue paper was for novels, yellow paper was for poetry, and rose-colored pages were reserved for nonfiction.
_ Mark Twain and Truman Capote had to write lying down.
_ Ernest Hemingway sharpened dozens of pencils before he wrote.
_ Willa Cather read the Bible before writing each day.
_ Poet John Donne liked to lie in an open coffin before picking up a pen.
Now, there’s a story for you.
I’m not implying that to take up the craft of writing you have to become an eccentric, but that may happen of its own accord. Writing is both fun and frustrating; it requires flights of whimsy as well as hard work. It’s equal parts imagination and preparation. Striking a balance between the two worlds is a constant challenge. Catching the muse is one thing, but keeping her with you is another — that’s where the tools of the trade come in handy. If you want a glimpse of some of those tools, turn to Chapter 4 where I discuss the craft of screenwriting. You find advice on how to flex your imagination, channel it onto the page, and maintain the writing schedule necessary to do both.







第一部分:你所想写的画面
首先有一个好主意。你开车穿过这座城市(或被堵在路上的视情况而定)当一个童年记忆闪现在你的眼前。这将使得一个人最大的优点电影。您正在阅读一份报纸,然后一个third-page犯罪以一个数组的形式返回寒冷的场景图像的火花。这就使得一个伟大的电影。你在乎你自己的生意在一些当你无意中听到的公
共论坛有了一个惊人的谈话和——你猜得没错——这可能成为一个好电影。这一部分,这本书是关于所有重要的想法——找到它,培育它,想象着它在屏幕上。因为你知道什么?这个价格很有可能会成为一位伟大的电影,如果你不把它写,还会有谁?

在这一章
得到的概要,编剧的过程
把你的想法写下来
修改你的工作
销售你的脚本

电影是一门手艺,就像任何工艺值得追求,你永远不可能知道全部。你不会告诉医生停止审查医学的发展,你会吗?一位老师曾经能充分熟悉教育吗?本章提供了一个短暂的一瞥,编剧和警告你在这本书的地方,你可以去找它。考虑你的预览窗口来了吸引人的东西。思维在视觉上快——在孩子们的书做一个角色需要绿色眼镜进入一个城市门?如果你回答了《绿野仙踪》,你是绝对正确的。多萝西需要绿色眼镜进入翡翠城。并且,当他们削减这个详细的电影版中,问题仍然是有关编剧。这是个问题,视觉——你有什么需要为了要看的地方
你要去哪里?
编剧需要一个独特的目光,眼睛训练来扫描与世界特定的敏锐度。看起来愚蠢地说,编剧看看这个世界与一个视觉的眼睛。当然,他们就是这么做的。不是每个人都愿意吗?毕竟,看是一个可视化的行为。
然而,有明显差异,编剧看到什么人们在其它行业中看到。编剧打破世界失望剪辑或成可视的场景——换句话说,到移动的图片。和编剧看到有超过他们的眼睛。考虑一秒钟,它很容易的同时可以看到移动的图片。

观察你周围的世界
读小说,戏剧,或一首诗
看报纸的
听音乐
听别人的故事
编剧寻找移动的图片在每一件事情,尽管一些消息来源收益率超过别人。想知道你的视力可以叠加最多?找到一个公共场所,坐一会在拿着和一支笔,写了些什么你注意到。然后,翻到第2章,并找出你的眼睛真的是多么的清晰。

作者的思想发展
想象一个仓储设施、与走廊和走廊的文件柜,有些溢但是对一只和一些空的一张纸。或想象一个操场充满了孩子,是的,但是其他的人,你不会指望的人看看。也许两名建筑工人正在打篮球,或者有一些首席执行官正在吃甜甜圈在草坪上,学生和夫妻和蓝领员工吗都在同一空间。很长一段走廊或想象充满门。偶尔,人的交流出现,有某些种类和回去后,这些门。现在,试想一个空白的画布。颜料和画笔坐在附近的,但他们依然存在,迄今为止,还不用的。这些空间的任何一个类似于脑海里的一个作家。作者收集和储存吨的细节。他们积聚图像、块的谈话,有趣的人物、声音、表情,俚语和更多。他们他们也发现,想象服装不同的结果。添加一些靴子,一些灰尘,和一支枪——就这么简单。你在西方
。把灯光调暗,剥去颜色,并给每个人一个雪茄——很快!你有黑白,世界suspense-filled葡萄的电影。介绍一种宇宙飞船或时光机器,突然,世界变得科幻小说。这是怎样的作家花它们大部分的时间——不是一个无趣的职业。所以,我觉得这是什么问题,你的头脑看起来像什么?如果你想找到,转到第3章。

作为一门手艺。

接近编剧
作家把他们的职业非常认真。他们将会做几乎任何鼓舞士气那缪斯女神,并且我做意味着什么。据谣传亚历山大大小仲马颜色协调他的论文与该类型的小说他在写东西。蓝色纸是小说、淡黄色的纸是为诗,和玫瑰色的书页被保留给非小说。马克?吐温和赛缪尔?杜鲁门卡珀特不得不写躺卧。欧内斯特?海明威加剧了数十个铅笔之前,他写道。通过阅读圣经》在写作前的每一天。诗人约翰?多恩喜欢卧在一个开放的棺材前捡起一支钢笔。现在,有一个故事想要讲给你听。我并不是暗示采取了工艺的写作你要成为一个性格古怪,但那可能发生的事,自作主张。写作是既有趣又令人沮丧的,它要求航班的搞怪以及努力工作。这是相等的部分想象力和准备。之间寻求一种平衡,这两个领域是a不断的挑战。抓住的缪斯女神是一回事,但是使她和你在一起——那是在哪里是另一个的工具贸易派上用场。如果你想要一个瞥见一些工具,翻到第4章的工艺,在那里我讨论编剧。你找到一些关于如何弯曲你的想象力、渠道在这纸上,保持必要的写作计划同时做两件事。

带林的成语-字眼是什么意思

什么一成语-社会主义是什么意思

亨怎么读-岁在龙蛇

drive的意思-浸怎么读

电梯英语-砧杵

ball怎么读-享客

举足轻重的近义词-美丽的近义词是什么

陌上是什么意思-岿然成语