Skip to main content

Becoming an Authority



The benefit of this assignment is twofold. First, you will be learning to identify the elements

within a script that indicate the author has done research and, thereby, has made her or himself

an authority on the topic, characters and locations they’re writing about. Second, you will be

gaining exposure to script analysis, which you will utilize later in the program as you critique

your own work and the work of your classmates.

Instructions:

1. Download the screenplay, The Hurt Locker.

2. Read the script and look for examples where Boal’s research of the war shows

authenticity in dialogue and description. You will not be able to print the script, so jot down on a

piece of paper when you note an example.

3. Cite examples – one of dialogue, one of description – from each act of the script.

Discuss why you think each is a good example of authenticity. (A one sentence answer will

suffice.)

(Remember, as you learned in Syd Field’s, “Screenplay,” which you read for The Art of Visual

Writing class, Act One is approximately the first 30 pages of the script, Act Two is approximately

pages 30-90, and Act Three is approximately pages 90-120.)

Be sure to list the page number and cite the passage of description or dialogue.

4. When you’re finished, come up with a logline for The Hurt Locker based on the logline

template you were taught last month – “WHO does WHAT and WHY?”

5. Type up the logline and examples of authentic dialogue and description you've found in a

Word document and submit.

Comments

Popular posts from this blog

Q&A – Lawrence Gilliard Jr. (Bob Stookey)

  Actor Lawrence Gilliard Jr., who plays Bob Stookey on AMC’s  The Walking Dead,  talks about his apocalypse-ready clarinet skills and how his character from  The Wire would react to zombies. Q: You’ve been in a lot of crime-centric shows. Were you excited to do something different on The Walking Dead ? A: Yeah absolutely. You get to play and have more fun and be more creative when you’re doing a show like this. Killing zombies — that’s what you do as a kid! Now I get to do it as a grownup. I definitely looked forward to the change and I’m having fun. Q: Your character is a medic. Do you have any skills that would be useful in the apocalypse? A: I play clarinet. I also play the drums, so I could keep the spirits lively and entertain everyone. That’s all I could do. Q: Bob is a pretty good shot. Did you do any weapons training for the role? A: None so far. When I was young, I learned to shoot, so I don’t really need any training for that. Q: You’ve...

A Comparison of Seven Story Paradigms: ®Dramatica® Syd Field Michael Hauge Robert McKee Linda Seger John Truby Christopher Vogler

A Comparison of Seven Story Paradigms: ® Dramatica ® Syd Field Michael Hauge Robert McKee Linda Seger John Truby Christopher Vogler Write Brothers ® Inc. 138 N. Brand Blvd. #201 Glendale, CA 91203 2.             How and Why Dramatica is Different from Other Story Paradigms by Chris Huntley I spent nearly sixteen years avoiding reading anything of substance by (Hollywood) story theorists such as Syd Field, John Truby, Christopher Vogler, Robert McKee and others. As co-creator of the Dramatica theory of story, I didn't want to influence my development of Dramatica so I avoided direct interaction with competing theories. In 2006 I decided to lift my self-imposed ban. I figured my understanding of Dramatica was mature enough that I didn’t have to worry about "contaminating" it by exposure to the competing theories. It was past time that I figured out how other story theories are similar and dissimilar to Dramatica...