Có 53+ tài liệu thuộc chủ đề "Cách viết phim ngắn"
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DIRT ROAD ON THE EDGE OF THE FOREST—DAY A man pulls his GOAT down a muddied path. TIGHT ON THE DARK KNIGHT. CLOSE-UP ON THE BULL AS WE HEAR THE SOUND OF THE SWORD CRASH DOWN.. FOREST—DAY. WE HEAR IN THE DISTANCE A MAN SCREAMING, SOUNDS WE CANNOT MAKE OUT, AND CHILDREN SCREAMING. SHE QUICKLY MOVES THROUGH THE FOREST. Through...
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There is a sigh from the owner of the hands, MISS PEACH. Miss Peach is a grey-haired, formal-looking woman in her late fifties. Miss Peach is conservatively dressed in a drab woolen coat and unassuming hat. Miss Peach lifts a cardboard box from the floor in front of her and places the box on her lap. Miss Peach turns over...
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MISS PEACH. MISS PEACH Yes. Miss Peach puts on her glasses.. MISS PEACH It’s very beautiful.. Miss Peach makes a closer inspection of the ring peering at Scarlet’s outstretched hand.. Miss Peach is about to take Scarlet’s large hand in hers when. Miss Peach looks up at Scarlet who stands still.. Quickly Miss Peach withdraws her hand and steps back.....
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NIGHT MISS PEACH What are you doing!?. MISS PEACH. Miss Peach hesitates at the door. Miss Peach limps in protectively.. MISS PEACH Don’t touch anything!. Miss Peach continues to limp.. Miss Peach sits down on a chair as Scarlet searches the drawer of the side table. Scarlet discovers a flashlight and hands it to Miss Peach. MISS PEACH Don’t touch...
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Miss Peach enters the living room, which is now bathed in candlelight. Miss Peach stands in awe. In beautiful italics on one is written “Lady Peach” and on the other “Lady Scarlet.” Miss Peach turns back to Scarlet who has now disappeared. Miss Peach observes the place settings, and. Miss Peach taps on the bathroom door. MISS PEACH Scarlet. MISS...
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IRIS, sixteen years old, is standing and brushing LUCY’s hair. IRIS hits the tangles in LUCY’s hair.. IRIS finishes the last strokes and slightly pats LUCY’s long hair.. CUT to a CLOSE-UP of LUCY and IRIS’s locked fingers as they fall from each other.. DISSOLVE to a CLOSE-UP of IRIS’s face as she sleeps.. DISSOLVE slowly as IRIS, in a...
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DISSOLVE to a TWO-SHOT, as the MAN puts his hand on LUCY’s bare arm, then runs his fingers over her. DISSOLVE to a CLOSE TWO-SHOT of LUCY and the MAN.. DISSOLVE to an EXTREME CLOSE-UP of IRIS’s eyes. CUT to a MEDIUM CLOSE-UP of LUCY and the MAN, as he leans forward and moves her hair off of her shoulders.....
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SHEILA (O.S.) I’m going to go check on the table.. She picks something up from the cutting board and drops it into her mouth, wiggling her bottom to show the sensation of the good flavor. FOYER/STAIRS—NIGHT. Through the rails of the staircase, Julie sits alone, balancing a plate on her knees. So just who is Julie’s father anyway? So who’s...
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Get out of my way.. Get out of my room. Get out of my room.. DEAD LETTERS DON’T DIE (Originally “Thomas Fupper”) by Anais Granofsky and Michael Swanhaus
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AMANDA’S HOUSE—AFTERNOON. THOMAS I guess it’s the thought that counts.. THOMAS It’s still too early.. It’s been two years! She writes to her dead husband for God sakes. Hey, it’s your day at the track, but if you ask me, no one likes to bet on a horse that shows.. AMANDA’S HOUSE. AMANDA’S FRONT WALK. AMANDA’S HOUSE—NIGHT. (The next sequence...
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He holds up the drawing of the dead Santa.. Thomas’s wheels crunch through the cold winter air.. Thomas’s bicycle slides to a stop in front of a small second-hand shop. Snow pours out of the sky. Then, out of the snow, barreling down the street is Thomas.. DARREL, the leader of the boys, struts up to Thomas and pushes him...
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THOMAS My name’s Thomas.. because you’re there. as motif in docudrama
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positioning, 128–129 research in, 134–135 in short film, 127 singular qualities, 133 tragedy in, 138. Main Character. in docudrama docudrama case studies in,. studies in, 216–218 finding, 44. habitual behavior and in hyperdrama hyperdrama case studies in, 201 images and, 22–23. melodrama case studies in, 166–167. in characterization, 137–138 definition of, 116. short film and, 230 Communication, 89. in dramatic...