MyFlik - Your Online Movie Studio & Free Film School Les ouvriers boudés par la fiction LE MONDE TELEVISION | • Mis à jour le | Par Hélène Delye Il est des engouements, des tendances, qui mettent paradoxalement en lumière la carence de ce qu'elles délaissent, et en suscitent l'appétit. C'est le cas des fictions ancrées dans le monde de la politique ("Les hommes de l'ombre", sur France2, ou "Borgen", sur Arte), particulièrement en vogue ces temps-ci. Sans bouder le plaisir de suivre ces programmes et leurs protagonistes, on rêve aussi d'autres types de fictions aussi réalistes, créatives et contemporaines. Les héros de celles-ci seraient issus des classes populaires, ils seraient ouvriers, employés, citoyens. Selon le baromètre de la diversité à la télévision publié par le Conseil supérieur de l'audiovisuel (CSA) en juillet2011, les employés et les ouvriers, qui comptent pour 14% et 12% de la population, ne représentent en effet que 5% et 2% des personnes vues à la télévision, toutes catégories de programmes confondues. Partout, l'argument est le même.
How to Guides Welcome to Writer's Resources—your resources! This is the section you come to for how-to and formatting guides, an inspirational kick in the pants, and nifty icons and flyers. You'll find handy links to everything in the section there on the left, and here's a quick overview of each item on the list. How To Guides How to Build Great Characters and Stories Scriptwriter Bootcamps and Worksheets The Young Writers Program Director, Chris Angotti, has put together a series of bootcamps and worksheets that can help writers of all ages develop their characters and stories. We've highlighted a few of these resources below to help you plan your scripts. Four-Week Scriptwriting Bootcamp In the next four weeks, our scriptwriting boot camp will teach you everything you'll need to know to tackle the great Script Frenzy challenge this April. Week 2: Creating Conflict and Outlining Your Plot Get your characters off the page and into action in Week 2. Week 3: What Makes a Script a Script? Need a Lift?
Untitled Document Lex Williford Screenwriting Screenwriting Students: This webpage, a supplement to our text, includes many resources beyond our text, including the scripts we will read for this semester and scripts in several different formats which you may read on your own and use for your critical analyses of scripts. UTEP Undergraduate Students and UT Telecampus Graduate Students: This website is for both graduate and undergraduate students. Please report problems or broken links in this website to lex@utep.edu. Screenplay Website Documents Main Site Documents : You may also buy the program in the book store at an academic discount. Workshops and Shared Reviews in the Free Adobe Acrobat Reader This will be a paperless workshop. The first week of class, please download and install the latest version of the free Adobe Acrobat Reader at Here's what a Shared Review looks like: The Word Script Template That’s it for now. Thanks, Lex
fr - CeltxWiki Hi there! Please sign in help Expert Exchange tags people badges Ask Your Question search or ask your question Sort by » by date by activity ▼ by answers by votes 2,488 questions views answers no votes 4 mins ago Nguyen Quang Huy TypeSet/PDF view 11 hours ago JA525 Promblems with format of script 14 hours ago jcking75 typeset adding extra line break 14 hours ago bernardo carreiro How can i change the language from the tools on celtx? 17 hours ago Jabari I can't change from format to format. 19 hours ago evatar FEATURE REQUEST: Single Spaced Lines! vote Very limited support---true? 26 hours ago Nhat Banh Is Celtx Plus is also for Mac? 27 hours ago jefreestyles Celtx Plus Desktop version 27 hours ago treefrog importing online celtx scripts into older versions of celtx 36 hours ago Johnny Cinematic What I Get For The Studio Subscription 37 hours ago Amelia WiIson Stuck on "Text" view 38 hours ago Amelia WiIson Tabs in online studio not working suddenly. 38 hours ago roland ipad 38 hours ago Ralex75 Celtx iPhone app celtxscript
Wall-E and Toy Story Screenwriter Reveals the Clues to a Great Story | Aerogramme Writers' Studio Warning: this video contains strong language Last week we posted Pixar’s 22 Rules of Storytelling, a list of 22 golden tips first tweeted by Pixar Story Artist Emma Coats.The article received a tremendous response and since then a number of people have mentioned to us this TED talk by Andrew Stanton. Stanton was the writer for all three Toy Story movies, as well as being the writer/director for Wall-E, Finding Nemo and John Carter. In this captivating lecture Stanton talks about the early days of Pixar, storytelling without dialogue, and capturing a truth from your experiencing it. Stanton also describes being taken at age five to see the Disney’s animated classic Bambi.
Screenwriting Tip Of The Day by William C. Martell - Challenge d You've finished your script, rewritten it to perfection, and now it's ready for market... or is it? I have a friend who has never done a *major* rewrite on his script, and my guess is that you haven't either. Most of us have never had our script challenged. We've never had to think about doing a major rewrite. A few years ago I had a nice sci-fi script set up with a producer who then hired a director... not just any director, this guy was a legend in the horror-sci-fi world. Until the first story meeting, where I realized why his recent films have sucked: he has dumb ideas. Imagine getting notes on STAR WARS like "Does Luke have to be a farm boy? Now, you may think those notes are silly, but they are the exact kind of notes you'll be getting. "What if Darth Vader was Luke's older brother instead of his father? Now you go through each of these possibilities and have to really consider them. Eventually you'll have to defend your choices. Back to *my* sci-fi script... CYBER THURSDAY Sale!
Séries françaises : "TF1" n'a décidément rien pigé à la fiction Au cours d'un entretien à "TéléObs", l'ancien directeur des programmes de "TF1" et actuel président de TF1 Production, Laurent Storch, a aligné des contre-vérités incroyables pour expliquer les raisons de l'échec de la fiction française. Son interview démontre clairement qu'on n'est pas prêt de sortir de ce marasme. Un épisode de "Joséphine ange gardien" (CHOGNARD ETIENNE/TF1/SIPA) Laurent Storch : "Nous en sommes à 16 [épisodes] pour “R.I.S”, 14 pour “Section de recherches”… Pourquoi pas plus ? Je ne remets pas en cause notre droit social mais la raison majeure est évidente : on ne peut pas travailler plus de trente-cinq heures." Faux. Le problème des 35 heures est inexistant si vous copiez les Anglais : au lieu de vouloir faire des séries de 24 épisodes qui demandent une façon très particulière de s'industrialiser, adaptez-vous ! Laurent Storch : "L’une des clefs pour livrer plus et plus vite, c’est le regroupement d’auteurs en ateliers l’écriture." Faux. Faux.
Pixar’s 22 Rules of Storytelling | Aerogramme Writers' Studio These rules were originally tweeted by Emma Coats, Pixar’s Story Artist. Number 9 on the list – When you’re stuck, make a list of what wouldn’t happen next – is a great one and can apply to writers in all genres. You admire a character for trying more than for their successes.You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.Once upon a time there was ___. Every day, ___.
Your Screenplay Sucks! Just got back from the three hour extravaganza. Hmmmmm. Needed a bit more time in the editing department. I hate saying that, because Thelma Schoonmaker is amazingly talented, but this time she stumbled. The final bit of the movie, literally the last minute, is a textbook example of when you should cut, but don’t… Early in the movie, the hero is at a booth in a restaurant and says to his buddies, “Sell me this pen.” CUT TO: a couple of hours later. Very end of the movie… Hero is talking to a room full of people. That’s what they should have done, but didn’t. He says, “Sell me this pen,” and the guy he’s talking to stumbles through a couple of dumb sentences about why the pen is great. The correct end point was the instant after he said “Sell me this pen.” the first time. When you read your rough draft, look to see if you’ve got places you can cut out of a scene… but keep… on… going… Just because you have momentum, doesn’t mean you should freewheel forward. Do you agree?