Dan O Bannon S Guide To Screenplay Structure

Dan O'Bannon famously crafted his screenplays using a self-designed system which he called "dynamic structure." This book outlines how O'Bannon's method differs from those of other well-known screenwriting gurus, and illustrates with examples from classic (and not-so-classic) films how dynamic structure can be applied to craft narrative and character. O'Bannon also includes his insights on subjects such as the logic of the three-act structure, the role of the producer in screenplay development, and the psychological principle known as "hedonic adaptation," which has a unique effect on the structuring of screen stories.

Writing Short Films is one of the bestselling university text books on writing short film screenplays. This updated and revised edition includes several new chapters.

An insightful how-to guide for writing screenplays that uses Aristotle's great work as a guide. Long considered the bible for storytellers, Aristotle's Poetics is a fixture of college courses on everything from fiction writing to dramatic theory. Now Michael Tierno shows how this great work can be an invaluable resource to screenwriters or anyone interested in studying plot structure. In carefully organized chapters, Tierno breaks down the fundamentals of screenwriting, highlighting particular aspects of Aristotle's work. Then, using examples from some of the best movies ever made, he demonstrates how to apply these ancient insights to modern-day screenwriting. This user-friendly guide covers a multitude of topics, from plotting and subplotting to dialogue and dramatic unity. Writing in a highly readable, informal tone, Tierno makes Aristotle's monumental work accessible to beginners and pros alike in areas such as screenwriting, film theory, fiction, and playwriting.

In 1976, Twentieth Century Fox bought a screenplay by Dan O'Bannon entitled Star Beast. Three years later with Ridley Scott at the helm, Alien was unleashed on unsuspecting filmgoers. En route to back to Earth, the crew of the starship Snark intercepts an alien transmission. Their investigation leads them to a desolate planetoid, a crashed alien spacecraft, and a pyramidic structure of unknown origin. Then the terror begins . . . Writer Cristiano Seixas and artist Guilherme Balbi have attempted to stay true to the characters, settings, and creatures described in O'Bannon's original screenplay--without replicating the famous designs of Ron Cobb, Moebius, and H.R. Giger. A new experience, but still terrifying! Collects Alien: The Original Screenplay issues #1-#5.

The great challenge in writing a feature-length screenplay is sustaining audience involvement from page one through 120. Screenwriting: The Sequence Approach expounds on an often-overlooked tool that can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole. The sequence approach has its foundation in early Hollywood cinema (until the 1950s, most screenplays were formatted with sequences explicitly identified), and has been rediscovered and used effectively at such film schools as the University of Southern California, Columbia University and Chapman University. This book exposes a wide audience to the approach for the first time, introducing the concept then providing a sequence analysis of eleven significant feature films made between 1940 and 2000: The Shop Around The Corner / Double Indemnity / Nights of Cabiria / North By Northwest / Lawrence of Arabia / The Graduate / One Flew Over the Cuckoo's Nest / Toy Story / Air Force One / Being John Malkovich / The Fellowship of the Ring

Learn the secrets to writing a GREAT screenplay from a major movie studio Story Analyst who will show you how to BLOW AWAY THE READER! Master the structure and principles used by 95% of commercial movies. This is not a formula or just another structure paradigm -- it is the view from behind the desk of the people evaluating your screenplay, what they want to read and what they will buy. With all the competition in the Hollywood marketplace, your script can't just be good, it must be GREAT.

An enormously entertaining account of the gifted and eccentric directors who gave us the golden age of modern horror in the 1970s, bringing a new brand of politics and gritty realism to the genre. Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

A successful screenplay starts with an understanding of the fundamentals of dramatic story structure. In this practical introduction, Edward J. Fink condenses centuries of writing about dramatic theory into ten concise and readable chapters, providing the tools for building an engaging narrative and turning it into an agent-ready script. Fink devotes chapters to expanding on the six basic elements of drama from Aristotle’s Poetics (plot, character, theme, dialogue, sound, and spectacle), the theory and structure of comedy, as well as the concepts of unity, metaphor, style, universality, and catharsis. Key terms and discussion questions encourage readers to think through the components of compelling stories and put them into practice, and script formatting guidelines ensure your finished product looks polished and professional. Dramatic Story Structure is an essential resource not only for aspiring screenwriters, but also for experienced practitioners in need of a refresher on the building blocks of storytelling.