小组对故事和形式的想法

[迈克尔]汤姆·本恩（Tom Benn）投资了一个故事，这会让您成为什么样的？What about - what is it in this story that’s going to say “Okay, I can do this”, or maybe it’s, what is that going to be the deal breaker - if it doesn’t have this quality, I’m not going to invest in it. [Tom] I think it needs to contain some kind of truth, by truth, I just mean it doesn’t need to have anything lofty or profound. It doesn’t need to have any kind of an axe to grind, any pretensions, but need something that can recognise but it doesn’t need to be a comforting or reassuring truth.

这可能是一件丑陋的事情，但是只要我认识到它在这个层面上对我说话，然后我就对这个世界深信不疑，无论风格，风格，音调如何。这就是我所需要的，也是任何电影叙事。[迈克尔]好的，如此真实的进步，一个真实的人物，一个真实的世界。好吧，好的。莫莉 - 您有什么要添加的吗？[Molly]我一直想写我深切关心的事情，因此我一直在想问并可能回答这些大问题 - 使我们思考人类的问题的问题。因此，我想我想我从主题角度来看。

我的意思是主题和角色，所以我可能会有一个吸引我的角色，但是我经常会出现这个角色的方式是在思考一个我真正想谈论的主题或主题。我认为应该在大屏幕上占有一席之地，我认为人们想要或应该考虑或谈论或谈论。[迈克尔]我不知道，但我害怕大主题。就个人而言，我总是在寻找具体的。[Christabelle]真的，对我来说，这可能总是与一个大角色的旅程有关，因此您需要让主角深深地想要一些东西，并渴望驱动电影的动作。

这个故事是关于那些人（例如您的主角）来追求目标并遇到障碍时做事的。[迈克尔]对，对，这就是我喜欢的妈妈报价：他说，故事发生了，因为有人想要一些东西，他们很难得到它。这将其降低到一条线，但实际上大多数故事确实始于这个非常基本的观点。

When you come up with the dramatic situation there any number of approaches you could take to deliver a whole story out of that but you want to find the one that has the character that’s most important to you, that develops themes that are most important to you, and that gives the story the best shape for a plot, I think. And you put all those together and then you have the makings of a film. And the other important, I think, the other important issue with this is where you start this story, especially if you’re working with real events. It’s where you come into this.

因此，我们现在想考虑的是一些事情 - 我们用来创建工作的一些工具。这是一种戏剧性的形式。这是一种视觉形式，在剪辑中教授或构建胶卷。我们以碎片和多轨写作。我们可以使用声音，视觉，音乐，对话以及所有这些东西。而且，我们要问，您知道，我们四个人将对此发表评论，并说我们写作时最重要的是什么 - 我们如何处理？[莫莉]好吧，我尝试记住这一点 - 不要爱上自己的对话。

我认为，当我第一次开始写作时，这就是我对编写脚本的兴奋。就像我在看角色，看他们在说什么，但是

随着时间的流逝，我开始拥抱，那么要拥抱至关重要：其他元素。因此，现在，每次我构建一个场景时，我都会考虑那些不同的曲目 - 多音轨和思考我可以使用的东西。因此，我正在考虑此刻如何使用声音？Is there a moment where I can convey the emotion or the thing I’m trying to say with an action, with a sound - all the different options available to me because if I’m just trying - doing it with dialogue and exposition then there’s no point in me writing screenplays. Yeah, yeah. [Michael] You betray your roots in that theatre, I think.

我认为莫莉和我倾向于最后考虑视觉效果。我们考虑人们在做什么，人际关系和戏剧，最后到达视觉效果。我不知道……[汤姆]和我在一起，这往往是对话。

I have to hear what the character’s talking about, figure out what they want, and then it’s sort of a process of distillation - it’s paring everything back until it has some kind of dramatic function and that can just be the dialogue and it can also be the scene directions and just making sure everything serves a purpose, not too cleanly, not too explicitly but isn’t there just as a reminder to me, isn’t there as something that can be actually physically played by an actor, can be interpreted. You know, it’s not a novel, you know there’s no interiority here. Everything needs to be conveyed and actualised through dramatic action. It’s making sure that that works on the page. It works like that.

[迈克尔]这让我着迷，直到我知道他们在做什么，我才能写对话，因此您听到他们在做什么，然后弄清楚他们想要什么。[汤姆]对我来说总是这样。[迈克尔]是的，这真的很有趣。[Christabelle] And I think that once I’ve got my story straight and I’ve written my step outline and I kind of know what needs to happen in each scene I’m really thinking about how to use the visual tools to place the audience in a position where they’re going to have the biggest and strongest emotional experience of that character’s journey through the film.

So it might well be that, even though I know in these days we don’t write “wide shot - canyon” or “big close up on her eyes” in a way you can suggest that actually when you write your very pithy stage directions. [Molly] Yeah. You have to have to be guiding the director and the other creative team because this is a blueprint isn’t it? it’s not … [Christabelle] What am I looking at - what am I hearing in this scene? Absolutely. [Tom] Lingering on only what’s important - if it’s not … why is it there?

[Christabelle]但是我认为在剪辑中讲这个故事实际上是一件美术，因为我认为，当我们第一次写这些漫长的场景时，它们可能有很多东西，而且我们可能知道这一点the dramatic beat happens somewhere in there, and actually if you just honed it down to that and left the audience - if you asked a question and left that answer suspended you’d probably have a much more interesting cinematic experience. That you don’t have to do it all in the scene. You can leave those gaps which make the audience work and that’s a much more exciting way to …

[迈克尔]我经常希望我能真正想到，我知道，我是如此熟练，以至于我只能想到这句话。如果我只能进去写这两行然后下车，它会更快多少。[Christabelle]不过，重要的是，认为不是吗？因为每个屏幕时间的每一分钟都会花很多钱。如果您可以更好地计划它，那么它不会最终放在切切的地板上。[Michael]此外，还有很多时间写作。您写了整个戏剧性的情况，然后磨练它，但我认为我们对此有所了解。

我们每个人都会以不同的方式处理它，但是有很多方法可以使用这些工具。因此，让我们暂时剪这个。好的。