Вот вам, возможно, казалось, что последние годы все фильмы как-то сами по себе становятся одинаковыми, будто методом проб и ошибок разные режисёры приходят к одному платоновскому идеалу фильма, приносящему максимум денег. Мне точно казалось, я ещё внутренне ругал кровавую руку рынка и массовые аудитории, а также тех, кто ходит на эти наборы штампов.
Но на самом деле всё совсем не так.
А точнее, это происходит, да, но не случайно.
The formula didn’t come from a mad scientist. Instead it came from a screenplay guidebook, Save the Cat! The Last Book on Screenwriting You’ll Ever Need. In the book, author Blake Snyder, a successful spec screenwriter who became an influential screenplay guru, preaches a variant on the basic three-act structure that has dominated blockbuster filmmaking since the late 1970s.
When Snyder published his book in 2005, it was as if an explosion ripped through Hollywood. The book offered something previous screenplay guru tomes didn’t. Instead of a broad overview of how a screen story fits together, his book broke down the three-act structure into a detailed “beat sheet”: 15 key story “beats”—pivotal events that have to happen—and then gave each of those beats a name and a screenplay page number. Given that each page of a screenplay is expected to equal a minute of film, this makes Snyder’s guide essentially a minute-to-minute movie formula.
http://www.slate.com/articles/arts/cult
В общем, вот вам идеальная формула идеального фильма с точным хронометражем основных событий:
Opening image (p. 1): Sets the tone for the story and suggests the protagonist’s primary problem.
Theme is stated (p. 5): A question or statement, usually made to the protagonist, indicating the story’s main thematic idea.
Set-up (p. 1-10): An introduction to the main characters and setting—the background.
Catalyst (p. 12): A major event that changes the protagonist’s world and sets the story in motion.
Debate (p. 12-25): A question is raised about the choice now before the protagonist. Often this section lays out the stakes for the journey ahead.
Break into Act II (p. 25-30): The hero definitively leaves his old world or situation and enters a strange new one.
B-story (p. 30): A secondary plotline that often fleshes out side characters—frequently a mentor or a love interest—who assist the hero on his journey.
Fun and games (p. 30-55): Snyder says this section offers “the promise of the premise.” It’s an exploration of the story’s core concept that gives the story its “trailer-friendly moments.” It’s usually lighter in tone, and it typically builds to a big victory at the midpoint.
Midpoint (p. 55): The A and B stories cross. The story builds to either a false victory or (less often) false defeat. New information is revealed that raises the stakes.
Bad guys close in (p. 55-75): After the victory at the midpoint, things grow steadily worse as the villains regroup and push forward.
All is lost (p. 75): Mirroring the midpoint, it’s usually a false defeat. The hero’s life is in shambles. Often there’s a major death or at least the sense of death—a reference to dying or mortality somehow.
Dark night of the soul (p. 75-85): A moment of contemplation in which the hero considers how far he’s come and all he’s learned. It’s the moment in which the hero asks, “Why is all this happening?”
Break into Act III (p. 85) A “Eureka!” moment that gives the hero the strength to keep going—and provides the key to success in Act III.
Finale (p. 85-110) Relying on all he has learned throughout the story, the hero solves his problems, defeats the villains, and changes the world for the better.
Final image (p. 110). A mirror of the opening image that underlines the lessons learned and illustrates how the world has changed.
Такие дела. Будушего у кинематографа нет. Да и было ли оно когда-то?
P.S. Итак, по десятке в месяц. За компанию. Комментируя эти голодрамы, она в девяноста семи случаях из ста по первым десяти минутам действия угадывает ключевые события следующего часа. В семидесяти трех случаях она точно знает, чем фильм закончится. И более чем в половине попыток точно предсказывает следующую фразу, которая прозвучит с экрана. Знакомые развлечения, детка?
— Я не понимаю, что я сделала плохого, госпожа… Вы за мной следили?
— И не только. Пора бы знать, что до появления на вашем континенте добрелей голодрамы были одним из лучших средств прошивки. Берешь сотню наиболее модных фильмов, подсчитываешь, сколько раз там показывают убийства и похороны, а сколько раз — секс и роды. Соотношение этих чисел называется «демографической политикой государства». Но если какая-то шпилька заранее знает, когда на экране покажут расчлененное тело, а когда детское питание — можно уже не показывать. Запланированной прошивки не получится.
http://flibusta.net/b/257652/read
Но на самом деле всё совсем не так.
А точнее, это происходит, да, но не случайно.
The formula didn’t come from a mad scientist. Instead it came from a screenplay guidebook, Save the Cat! The Last Book on Screenwriting You’ll Ever Need. In the book, author Blake Snyder, a successful spec screenwriter who became an influential screenplay guru, preaches a variant on the basic three-act structure that has dominated blockbuster filmmaking since the late 1970s.
When Snyder published his book in 2005, it was as if an explosion ripped through Hollywood. The book offered something previous screenplay guru tomes didn’t. Instead of a broad overview of how a screen story fits together, his book broke down the three-act structure into a detailed “beat sheet”: 15 key story “beats”—pivotal events that have to happen—and then gave each of those beats a name and a screenplay page number. Given that each page of a screenplay is expected to equal a minute of film, this makes Snyder’s guide essentially a minute-to-minute movie formula.
http://www.slate.com/articles/arts/cult
В общем, вот вам идеальная формула идеального фильма с точным хронометражем основных событий:
Opening image (p. 1): Sets the tone for the story and suggests the protagonist’s primary problem.
Theme is stated (p. 5): A question or statement, usually made to the protagonist, indicating the story’s main thematic idea.
Set-up (p. 1-10): An introduction to the main characters and setting—the background.
Catalyst (p. 12): A major event that changes the protagonist’s world and sets the story in motion.
Debate (p. 12-25): A question is raised about the choice now before the protagonist. Often this section lays out the stakes for the journey ahead.
Break into Act II (p. 25-30): The hero definitively leaves his old world or situation and enters a strange new one.
B-story (p. 30): A secondary plotline that often fleshes out side characters—frequently a mentor or a love interest—who assist the hero on his journey.
Fun and games (p. 30-55): Snyder says this section offers “the promise of the premise.” It’s an exploration of the story’s core concept that gives the story its “trailer-friendly moments.” It’s usually lighter in tone, and it typically builds to a big victory at the midpoint.
Midpoint (p. 55): The A and B stories cross. The story builds to either a false victory or (less often) false defeat. New information is revealed that raises the stakes.
Bad guys close in (p. 55-75): After the victory at the midpoint, things grow steadily worse as the villains regroup and push forward.
All is lost (p. 75): Mirroring the midpoint, it’s usually a false defeat. The hero’s life is in shambles. Often there’s a major death or at least the sense of death—a reference to dying or mortality somehow.
Dark night of the soul (p. 75-85): A moment of contemplation in which the hero considers how far he’s come and all he’s learned. It’s the moment in which the hero asks, “Why is all this happening?”
Break into Act III (p. 85) A “Eureka!” moment that gives the hero the strength to keep going—and provides the key to success in Act III.
Finale (p. 85-110) Relying on all he has learned throughout the story, the hero solves his problems, defeats the villains, and changes the world for the better.
Final image (p. 110). A mirror of the opening image that underlines the lessons learned and illustrates how the world has changed.
Такие дела. Будушего у кинематографа нет. Да и было ли оно когда-то?
P.S. Итак, по десятке в месяц. За компанию. Комментируя эти голодрамы, она в девяноста семи случаях из ста по первым десяти минутам действия угадывает ключевые события следующего часа. В семидесяти трех случаях она точно знает, чем фильм закончится. И более чем в половине попыток точно предсказывает следующую фразу, которая прозвучит с экрана. Знакомые развлечения, детка?
— Я не понимаю, что я сделала плохого, госпожа… Вы за мной следили?
— И не только. Пора бы знать, что до появления на вашем континенте добрелей голодрамы были одним из лучших средств прошивки. Берешь сотню наиболее модных фильмов, подсчитываешь, сколько раз там показывают убийства и похороны, а сколько раз — секс и роды. Соотношение этих чисел называется «демографической политикой государства». Но если какая-то шпилька заранее знает, когда на экране покажут расчлененное тело, а когда детское питание — можно уже не показывать. Запланированной прошивки не получится.
http://flibusta.net/b/257652/read
Leave a comment
