linda seger making a good script great 3rd ed æ—¥, 30 12 GMT linda seger making a good pdf - Linda Seger, int'l script consultant. Author of. Making a Good Script Great - Download as PDF File .pdf), Text File .txt) or view presentation slides Creating Unforgettable Characters - Linda Get Free Read & Download Files Making A Good Script Great Linda Seger PDF. MAKING A GOOD SCRIPT GREAT LINDA SEGER. Download: Making A Good.

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BPS How to Make a Good Script Great with Linda Seger . Charlie Kaufman , Charlie Kaufman PDF, Charlie Kaufman Screenplays PDF. Making A Good Script Great Linda Seger - [FREE] MAKING A GOOD SCRIPT GREAT LINDA. SEGER How and Why PDF available for this article. Download . Making a good script great is more than just a matter of putting a good idea on paper. It requires the working and reworking of that idea. Making a Good Script.

Some say this is a stereo- type. But gender research continues to indicate there is a difference. The latest research on the brain says they are. But there is a consistency in subject matter. Dawn Steel says that the movies she makes as a producer will be much more personal than those she made as a studio executive. Or some— times we learn this because we tell a male executive our stories and we see their eyes glaze over, whereas a woman executive understands and then helps get that story on the screen.

And when somebody does make one of those great movies—like Thelma and Louise or Fried Green Tomatoes—everyone cares. And not just to other women, but to everyone. But this can present problems in terms of telling the story. New Zealand producer Robin Laing, who works with director Gaylene Preston, understands this challenge.

Emotion is harder to write down than action. But we have to value it and trust it. Movies where women form strong bonds.

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Yeah, I still structured in the 3x structure their beginning middle and end and even with this little um, Uh, there is no April. I I looked very carefully at the structure. She had her Turning Point.

She had her development. She had our conflict everything was in there, but you only have six minutes to do it. Some kind of success because you can write for years and years and years and not get any feedback that tells you. Oh, you did a good job on that. Right and that does help as an artist.

You want that reinforcement? This is definitely a marathon after figure it is going to take you years. I think that is going to keep you going as you feel inside. Yeah, absolutely. Now one. In the last 30 When did that come out? When did he release that? I know that it was in the early to mid 80s after Star Wars came out we could act I think was more like 77 right? I do with seminars on that. So um one can get Joseph Campbell kind of.

His book as well.

Do you have any tips on how you can get that script that they finally made out there into the world like actually get seen. But one thing people can do. Um, they can go to confiscating writing conferences that have pitched best. It is put on by a woman from Canada, Calgary. Name signal who is just fabulous. That is so well organized. She gets so many people there to receive pitches hundreds and hundreds of people go. I think there are some of those um sponsors of.

Um this overall what the Senate is are there probably quite low, but then everything is quite low. Oh, yeah, like the lines are that one line that immediately encapsulate your story for instance.

If I said the shark threatens the tourist town and of course of July weekend. Not something withdraws is you listen that logline it has conflict on it. You use the word threatens. You have so much information and so a writer Works in words on that log line because if you go to a pitch Fest, you might want to have that blog line to pull the person in immediately. So you get into an elevator and you press the 12th floor and you turn around and Steven Spielberg is standing behind you.

You go into your I have a script a shark threat final pitch that story to him.

Making a Good Script Great

I think he knows that what that punch to say. I had a say that because I just happen to have this opportunity. Let me see what that person says and you again make it very very concise. Michael Hague is written a book called.

The selling your script in 60 seconds. Give me something about you know, my maybe my main character might be in there. Give me lots of information. Uh, one movie is Shawshank Redemption, which is considered probably one of the greatest films ever made.

Um at least by IMDb standards, um, what makes that movie so ridiculously amazing, uh from NF talked to every. The other one is Pulp Fiction.

Like how that that magic of what that is the greatest movies of all time.

I think most of them they are both, you know, they are both very good. Um and say, well what is it about them? Um, I think the feeling for the characters and their situation in their context is so uh strong when you imagine with Morgan Freeman.

He just pulls you into that story. I piece of classical music and Opera and he puts it on the intercom and it just floods the prism everybody just as brought to a halt by the beauty to bring Beauty in that and oh my gosh the feeling of that scene. Um, so sometimes in movies when you analyze them. For instance structurally Shawshank.

I think the resolutions too long in that movie and so from just a purely structural craft Viewpoint. I think it could have been tighter but from an artistic view point just a story that pulls you in in the twists and turns of the story the fact that this guy. And um, it has in that case the twists and turns. Whole section is such an original piece. If very little money to shoot it with low budget lots of fascinating things. I mean, the guy is just shot the person and he starts quoting from the Bible my gosh and the shirt hand.

I think the thing with Quentin Tarantino. By the time he did Pulp Fiction he knew what he was doing. It was so awful. Then he did Reservoir Dogs, then he did fiction and I remember in that opening scene in the cafe that when he stopped that.

He starts the credit and his belly dancing music. I mean, it happened years ago. Aye-aye sir. The surfing music right belly dance of that killer piece of music starts the movie again in a totally different place at I totally trusted.

Quentin Tarantino know what he was doing.

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He was not going to drop that scene. I think right at the midpoint is the story of the watch which acts as kind of a fulcrum for the first half and the second half the interweaving. You know, the funny the funny. All that and everyone said oh poor George George. He just yeah. Well, maybe next one. George Spielberg was the only one that kind of like you might have something here Quentin did the same similar thing with uh with Pulp Fiction.

He was off shooting somewhere.

I mean he needs to learn how to make a movie. Well fiction has what I call the loop structure is that you Loop it back and uh, Quentin Who quotes some somebody else says, you know story has a beginning middle and end but not necessarily in that order, correct. And in my book had been screenwriting I talk about different non-traditional structures and Pulp Fiction is the example of Loop and just an unusual structure. And they and this is not the first rodeo right?

I was like such a odd choice for uh, you know for the out for the Academy, but I thought it was a wonderful Choice. Um, so last question. My dear is a toughest question of the mall. So prepare yourself.

I asked this of all of my uh, all my guests. What are your top three films of all time? Oh, okay the best. You know like Gone With the Wind. Those are the the big diamonds. Um, You know who say the top three films I went on to answer that.

I could answer it in terms of movies that I am incredibly fond of the time. Yeah, no rules. No rules like my some of my favorite now. People know I talk about witness a lot and I have talked about for many many years.

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I think it is one of the best structured films and these guys really knew what they were doing telling the story because I have a special feeling for witness my. Husband who had that time was guy was dating sort of kind of proposed to me in the middle of the barn-raising scene.

So, uh, I have a real feeling uh comedies I put to exceed the top very somatic very strong.

Um, Just you know Wonderful acting wonderful characters great idea behind it. I love that are made to me is a great example of a very small film of 12 year old boys and how a film can be about that.

And pull somebody in coordinating would not be pulled into that film if somebody said what is one of the least interesting things to you as I would say 12 year old boys because they make me so nervous they walk on railroad tracks and trains already to come. You know all of that and I said, I love that film. Wonderful list wonderful list. So uh Linda where can people find you. Um, and I got a full website.

Books, correct. And then you also do you also do uh Consulting as well as um workshops every once in a while. Tough life tough. Yeah tough life. I think I did seven in nine weeks and I just went from one country to the other with little vacation time in there. Okay fantastic Linda. Thank you so much for taking out the time to talk to us. We really appreciate it. Okay, and you can follow me on Facebook and on Twitter.

I watched Apollo 13 where the director followed this book to develop as she mentions this is third edition, he read earlier one. She claims that Three Act Structure doesn't necessarily lead to predictive story just as that music structures where each Fugue or Sonata composition is unique. So what's going on?

Why does she insist on avoiding artistic not-following-rigid-Three-Act-Structure even though she gives really good examples of such artistic movies?

TAS is the to-go-to mainstreamizer. Note that HEAVENLY artistic movies are not usually box office hits, such as that Space Odyssey was not a financial success because many people didn't like it and may walked out of theaters because they couldn't figure what the movie is about.

I can't say if the movie followed TAS or not, but it is indeed artistic and not at all predictable.

So darling, do you want to write the next Die Hard, or the next Space Odyssey? Subplots chapter describes how subplots should be inserted within acts and developed throughout the film and not at the very beginning viewers will think it's the main plot and not at the very end the story ended and interest is lost.

The book is narrated following the same structure described within it lol. I noticed one thing reading POV chapter. Yesterday I watched Rashomon, it starts with two people stuck under ruins because of the rain, a third man came running joins them. The two men eyes are wandering, they still can't believe the story that happened to them throughout last week. The third man since he has nothing to do the rain seems going to fall for a while longer , doesn't mind the two men telling him their story.

Now, if the movie started just when the story started you don't know what to expect, but with this way you know it's a really interesting story, you know the two men still live, but be careful since you're raising the expectations of the viewers the two men kept insisting to third man that their story is unbelievable.But gender research continues to indicate there is a difference.

I was a Drama teacher. I think it is one of the best structured films and these guys really knew what they were doing telling the story because I have a special feeling for witness my. Shelves: , film , borrowed , language A good well-organized book for beginners. So, uh, I have a real feeling uh comedies I put to exceed the top very somatic very strong.

I didn't hear the cheers of the righteous nor the moans of sinners.