Directing the Story by Francis Glebas
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Contents
- 1 The Goal: Why Do We Watch?
- 1.1 Why do we watch movies?
- 1.2 1001 Nights of Entertainment
- 1.3 What's at stake is nothing less than life and death
- 1.4 Dramatization through Questions
- 1.5 1001 Nights Entertainment Revisited
- 1.6 Critique: Is it too late to turn back?
- 1.7 Entertainment Explained
- 1.8 Opportunity from criticism
- 1.9 What is the audience doing?
- 1.10 Reverse-engineering approach
- 1.11 Why do we watch and more
- 1.12 Promise to the reader: intuition illuminated!
- 1.13 The secret of storytelling is story-delaying
- 1.14 Points to remember
- 1.15 References
- 2 Common Beginner Problems
- 2.1 Where do you begin?
- 2.2 The catch-22 of the character-driven intuitive approach
- 2.3 What can possibly go wrong?
- 2.4 What do directors direct?
- 2.5 The speaking metaphor
- 2.6 Show and Tell
- 2.7 Every Shot Is A Close-Up
- 2.8 What Is a Story?
- 2.9 What is Character?
- 2.10 Critique: Introducing Scheherazade
- 2.11 Points to Remember
- 2.12 References
- 3 The Beginning Basics
- 3.1 History and Function of Storyboards
- 3.2 Various Types of Storyboards
- 3.3 Production Process
- 3.4 The Beat Board
- 3.5 Storyboarding Overview
- 3.6 Story Reels
- 3.7 The Refinement Process
- 3.8 Pitching
- 3.9 The Gong Show
- 3.10 How to Tell a Story with Pictures
- 3.11 Breaking Down the Script: What Are Story Beats?
- 3.12 How to Storyboard a Scene
- 3.13 Staging the Action
- 3.14 Critique: Scheherazade's Storytelling
- 3.15 Points to Remember
- 3.16 References
- 4 How to Draw for Storyboarding: Motion and Emotion
- 4.1 Only 99,999 to Go
- 4.2 From Stick Figures to Balloon People
- 4.3 Walt Stanchfield's Gesture Drawing Class
- 4.4 Caricature
- 4.5 Designing Interesting Characters
- 4.6 The Story Drive of Emotions
- 4.7 Drawing the Four Main Emotion Groups
- 4.8 Miscellaneous Drawing Tips
- 4.9 Drawing for Clarity and the Use of Clear Silhouettes
- 4.10 Mort Walker's The Lexicon of Comicana
- 4.11 Technical Aspects of Storyboards
- 4.12 Critique: 1001 Drawings
- 4.13 Points to Remember
- 4.14 References
- 5 Structural Approach: Tactics to Reach the Goal
- 6 What do Directors Direct?
- 6.1 How to Get Attention
- 6.2 The Map is Not the Territory
- 6.3 Selective Attention
- 6.4 Keeping Attention
- 6.5 Keeping Structure Invisible: Tricks of Attention
- 6.6 The Power of Suggestion
- 6.7 How the Brain Organizes Information: Gestalt
- 6.8 Director as Magician
- 6.9 Hierarchy of Narrative Questions
- 6.10 Critique: Scheherazade Directs Attention
- 6.11 Points to Remember
- 6.12 References
- 7 How to Direct the Eyes
- 8 Directing the Eyes Deeper In Space and Time
- 8.1 What is Wrong With This Picture?
- 8.2 What to Use: Telephoto or Wide-Angle Lenses?
- 8.3 How to use Framing to tell a Story
- 8.4 Camera Mobility
- 8.5 Alternative Approaches
- 8.6 A Trick for Planning Scenes
- 8.7 Proximity
- 8.8 Point of View: Subjective Camera
- 8.9 The Town of Dumb Love and SketchUp
- 8.10 Beware of Depth Killers
- 8.11 Points to Remember
- 8.12 References
- 9 How to Make Images Speak: The Hidden Power of Images
- 9.1 A Fancy Word for Clues
- 9.2 Why Should You Care about Clues?
- 9.3 How Movies Speak to Us
- 9.4 The Mind Makes Associations
- 9.5 Crime Story Clues and Signs
- 9.6 Significant Objects
- 9.7 How Images Ask Questions
- 9.8 Speaking Indirectly
- 9.9 Everything Speaks, If You Know The Code
- 9.10 Semiotic Square
- 9.11 Semiotic Analysis of the Scheherazade and "Dumb Love" Stories
- 9.12 Points to Remember
- 9.13 References
- 10 How to Convey and Suggest Meaning
- 10.1 Continuity and Causality: How we put Juxtaposed Images Together
- 10.2 Multiple Types of Causality
- 10.3 Screen Geography: Letting the Audience Know Where They Are
- 10.4 Eyeline Matches
- 10.5 Time Continuity
- 10.6 History of Film Editing
- 10.7 Why Do We Have to Tell Stories?
- 10.8 The Film as Time Machine
- 10.9 Why Cuts Work
- 10.10 Why We Speak the Narration to Ourselves
- 10.11 Points to Remember
- 10.12 References
- 11 Dramatic Irony
- 12 The BIG Picture: Story Structures
- 12.1 Primitive Filmic Structures and Propp's Story Functions
- 12.2 The Hero's Journey or the Neurotic's Road Trip
- 12.3 Three Levels of Story Analysis
- 12.4 Mentors
- 12.5 Paradigms of Changing the Impossible to the Possible
- 12.6 Ending, Beginning, and Turning Points
- 12.7 Types of Scenes
- 12.8 What Happens if you Move the Structure Around?
- 12.9 Points to Remember
- 13 Aiming for the Heart
- 13.1 Do We Really Identify with the Hero?
- 13.2 Fears, Flaws, Wants, and Needs
- 13.3 Love Stories: What Keeps Lovers Apart?
- 13.4 What is So Scary about Horror?
- 13.5 The Rubberband Theory of Comedy: Aiming for the Backside of the Heart
- 13.6 So Many Crime Shows
- 13.7 Emotional Truth
- 13.8 Music and Color: Not Meaning, but Meaningful
- 13.9 What Is It All About?
- 13.10 Happy Ever After
- 13.11 Piglet's Big Compilation
- 13.12 Why We Watch Movies, Revisited
- 13.13 The Story Knot and the Formula for Fantasy
- 13.14 Emotional Engagement of a Story
- 13.15 Points to Remember
- 13.16 References
- 14 Summary: Recapitulation of All Concepts
- 15 Analysis and Evolution of the Scheherazade Project
- 15.1 Story Evolution: Making it Clearer and More Dramatic
- 15.2 Thematic Analysis and Dramatic Structures
- 15.3 Story Parallels and Repetitions
- 15.4 Hierarchy of Narrative Questions of the Scheherazade Story
- 15.5 Cuts for Length or to Make the Story Move Quicker
- 15.6 Changes Made to Make the Story More Dramatic or Resonant
- 16 Conclusion: Now We Must Say Good-bye
