Screenplay: The Foundations of Screenwriting by Syd Field (English) Paperback Bo

Description: Screenplay by Syd Field A thoroughly revised and updated edition of the classic screenplay guide, from the "most-sought-after screenwriting teacher in the world."**The Hollywood Reporter FORMAT Paperback LANGUAGE English CONDITION Brand New Publisher Description A thoroughly revised and updated edition of the classic screenplay guide, from the "most-sought-after screenwriting teacher in the world."**The Hollywood ReporterHollywoods script guru teaches you how to write a screenplay in "the bible of screenwriting" (The New York Times)-now celebrating over forty years of screenwriting success!Syd Fields books on the essential structure of emotionally satisfying screenplays have ignited lucrative careers in film and television since 1979. In this revised edition of his premiere guide, the underpinnings of successful onscreen narratives are revealed in clear and encouraginglanguage that will remain wise and practical as long as audiences watch stories unfold visually-from hand-held devices to IMAX to virtual reality . . . and whatever comes next.As the first person toarticulatecommon structural elements unique to successfulmovies, celebrated producer, lecturer, teacher and bestselling author Syd Field has gifted us a classic text. From concept to character, from opening scene to finished script, here are fundamental guidelines to help all screenwriters-novices and Oscar-winners-hone their craft and sell their work.In Screenplay, Syd Field can help you discover-. Why the first ten pages of every script are crucial to keeping professional readers interest. How to visually "grab" these influential readers from page one, word one. Why structure and character are the basic components of all narrative screenplays. How to adapt a novel, a play, or an article into a saleable script. Tips on protecting your work-three ways to establish legal ownership of screenplays. Vital insights on writing authentic dialogue, crafting memorable characters, building strong yet flexible storylines (form, not formula), overcoming writers block, and much moreSyd Field is revered as the original master of screenplay story structure, and this guide continues to be the industrys gold standard for learning the foundations of screenwriting. Flap From concept to character, from opening scene to finished script.. Here are easily understood guidelines to make film-writing accessible to novices and to help practiced writers improve their scripts. Syd Field pinpoints the structural and stylistic elements essential to every good screenplay. He presents a step-by-step, comprehensive technique for writing the script that will succeed. -Why are the first ten pages of your script crucially important? - How do you collaborate successfully with someone else? -How do you adapt a novel, a play, or an article into a screenplay? -How do you market your script? Author Biography Acclaimed as "the guru of all screenwriters" (CNN), Syd Field (1935-2013) is still regarded by many Hollywood professionals to be the leading authority in the art and craft of screenwriting.The Hollywood Reporter called him "the most sought-after screenwriting teacher in the world."Fields internationally acclaimed best-selling books Screenplay- The Foundations of Screenwriting, The Screenwriters Workbook, and The Screenwriters Problem Solver have established themselves as the "bibles" of the film industry. Screenplayand The Screenwriters Workbookare in their fortieth printing and are used in colleges and universities across the country. They have been translated and published in more than twenty-five languages. Review "Screenplay is one of the bibles of the film trade and has launched many a would-be screenwriter on the road to Hollywood." —Library Journal"Syd Field is the preeminent analyzer in the study of American screenplays." —James L. Brooks, AcademyAward–winning writer, director, producer Long Description For almost twenty-five years, aspiring screenwriters have turned to guru Syd Field for clear and insightful step-by-step guidelines on the art and craft of writing screenplays. Now, with a totally new, up-to-date perspective on todays film industry, Syd Field again proves why he is revered as a master - and why SCREENPLAY remains the bible of the film industry. From inception through completion, from opening scene to finished script, here is a sourcebook designed to help todays aspiring screenwriters turn their ideas into scripts that will sell and succeed on the screen tomorrow. Review Quote "Screenplayis one of the bibles of the film trade and has launched many a would-be screenwriter on the road to Hollywood."-Library Journal "Syd Field is the preeminent analyzer in the study of American screenplays." -James L. Brooks, AcademyAwardwinning writer, director, producer Excerpt from Book Chapter One What Is a Screenplay? "Suppose youre in your office. . . . A pretty stenographer youve seen before comes into the room and you watch her. . . . She takes off her gloves, opens her purse and dumps it out on the table. . . . She has two dimes and a nickel--and a cardboard match box. She leaves the nickel on the desk, puts the two dimes back into her purse and takes her black gloves to the stove. . . . Just then your telephone rings. The girl picks it up, says hello--listens--and says deliberately into the phone, "Ive never owned a pair of black gloves in my life." She hangs up . . . and you glance around very suddenly and see another man in the office, watching every move the girl makes. . . ." "Go on," said Boxley smiling. "What happens?" "I dont know," said Stahr. "I was just making pictures." --The Last Tycoon F. Scott Fitzgerald In the summer of 1937, F. Scott Fitzgerald, drinking far too much, deeply in debt, and drowning in the suffocating well of despair, moved to Hollywood seeking new beginnings, hoping to reinvent himself by writing for the movies. The author of The Great Gatsby, Tender Is the Night, This Side of Paradise, and the uncompleted The Last Tycoon, perhaps Americas greatest novelist, was, as one friend put it, seeking redemption. During the two and a half years he spent in Hollywood, he took the craft of screenwriting "very seriously," says one noted Fitzgerald authority: "Its heartbreaking to see how much effort he put into it." Fitzgerald approached every screenplay as if it were a novel and often wrote long backstories for each of the main characters before putting one word of dialogue down on paper. Despite all the preparation he put into each assignment, he was obsessed with finding the answer to a question that haunted him continuously: What makes a good screenplay? Billy Wilder once compared Fitzgerald to "a great sculptor who is hired to do a plumbing job. He did not know how to connect the pipes so the water could flow." Throughout his Hollywood years, he was always trying to find the "balance" between the words spoken and the pictures seen. During this time, he received only one screen credit, adapting the novel Three Comrades by Erich Maria Remarque (starring Robert Taylor and Margaret Sullavan), but Joseph L. Mankiewicz eventually rewrote his script. He worked on rewrites for several other movies, including a disastrous week on Gone With the Wind (he was forbidden to use any words that did not appear in Margaret Mitchells novel), but after Three Comrades, all of his projects ended in fail- ure. One, a script for Joan Crawford called Infidelity, was left uncompleted, canceled because it dealt with the theme of adultery. Fitzgerald died in 1941, working on his last, unfinished novel, The Last Tycoon. He died believing himself to be a failure. Ive always been intrigued by the journey of F. Scott Fitzgerald. What resonates with me the most is that he was constantly searching for the answer to what made a good screenplay. His overwhelming external circumstances--his wife Zeldas institutionalization, his unmanageable debts and lifestyle, his excessive drinking--all fed into his insecurities about the craft of screenwriting. And make no mistake: Screenwriting is a craft, a craft that can be learned. Even though he worked excessively hard, and was disciplined and responsible, he failed to achieve the results he was so desperately striving for. Why? I dont think theres any one answer. But reading his books and writings and letters from this period, it seems clear that he was never exactly sure what a screenplay was; he always wondered whether he was "doing it right," whether there were certain rules he had to follow in order to write a successful screenplay. When I was studying at the University of California, Berkeley, as an English lit major, I read the first and second editions of Tender Is the Night for one of my classes. It is the story of a psychiatrist who marries one of his patients, who, as she slowly recovers, exhausts his vitality until he is "a man used up." The book, the last one Fitzgerald completed, was considered technically faulty and was commercially unsuccessful. In the first edition of the novel, Book I is written from the point of view of Rosemary Hoyt, a young actress who shares her obser- vations about meeting the circle that surrounds Dick and Nicole Diver. Rosemary is on the beach at Cap dAntibes on the French Riviera, watching the Divers enjoying an outing on the sand. As she watches, she sees them as a beautiful couple who appear, at least from her point of view, to have everything going for them. They are, she thinks, the ideal couple. Rich, beautiful, intelligent, they look to be the embodiment of what everyone wants for himself or herself. But the second book of the novel focuses on the life of Dick and Nicole, and we learn that what we saw through Rosemarys eyes was only the relationship they showed to the world; it was not really true. The Divers have major problems, which drain them emotionally and spiritually, and ultimately destroy them. When the first edition of Tender Is the Night was published, sales were poor, and Fitzgerald thought he had probably been drinking too much and might have compromised his vision. But from his Hollywood experience, he came to believe he did not introduce his main characters early enough. "Its great fault," Fitzgerald wrote of Tender Is the Night to his editor, Maxwell Perkins, "is that the true beginning--the young psychiatrist in Switzerland--is tucked away in the middle of the book." He decided that when the second edition was printed, he would interchange the first section with the second and open the novel with Dick Diver in wartime Switzerland in order to explain the mystery about the Divers courtship and marriage. So he opened the book focusing on the main character, Dick Diver. But that didnt work either, and Fitzgerald was crushed. The book was financially unsuccessful until many years later, when Fitzgeralds genius was finally acknowledged. What strikes me so vividly is what Fitzgerald didnt see; his opening section focusing on how Rosemary saw the Divers was more cinematic than novelistic. Its a great cinematic opening, setting up the characters as others see them, like an establishing shot; in this first edition, Fitzgerald was showing us how this model couple looked to the world, beautiful and rich, seeming to have everything. How we look to the outside world, of course, is a lot different from who we really are behind closed doors. My personal feeling is that it was Fitzgeralds insecurity about the craft of screenwriting that drove him to change that great opening. F. Scott Fitzgerald was an artist literally caught between two worlds, caught between his genius as a writer and his self-doubt and inability to express that genius in screenplay form. Screenwriting is a definite craft, a definite art. Over the years, Ive read thousands upon thousands of screenplays, and I always look for certain things. First, how does it look on the page? Is there plenty of white space, or are the paragraphs dense, too thick, the dialogue too long? Or is the reverse true: Is the scene description too thin, the dialogue too sparse? And this is before I read one word; this is just what it "looks" like on the page. Youd be surprised how many decisions are made in Hollywood by the way a screenplay looks--you can tell whether its been written by a professional or by someone who s still aspiring to be a professional. Everybody is writing screenplays, from the waiter at your favorite bar or restaurant to the limo driver, the doctor, the lawyer, or the barista serving up the White Chocolate Dream Latte at the local Coffee Bean. Last year, more than seventy-five thousand screenplays were registered at the Writers Guild of America, West and East, and out of that number maybe four or five hundred scripts were actually produced. What makes one screenplay better than another? There are many answers, of course, because each screenplay is unique. But if you want to sit down and spend six months to a year writing a screenplay, you first have to know what a screenplay is--what its nature is. What is a screenplay? Is it a guide, or an outline, for a movie? A blueprint, or a diagram? Or maybe it s a series of images, scenes, and sequences strung together with dialogue and description, like pearls on a strand? Perhaps its simply the landscape of a dream? Details ISBN0385339038 Author Syd Field Short Title SCREENPLAY REV/E Edition Description Revised Language English ISBN-10 0385339038 ISBN-13 9780385339032 Media Book Format Paperback DEWEY 808.23 Year 2005 Country of Publication United States Residence Beverly Hills, CA, US Place of Publication New York DOI 10.1604/9780385339032 UK Release Date 2005-11-29 AU Release Date 2005-11-29 NZ Release Date 2005-11-29 US Release Date 2005-11-29 Subtitle The Foundations of Screenwriting Illustrator Richard Scarry Birth 1930 Affiliation Assistant Professor, Department of Mechanical Engineering, NSS College of Engineering, Palakkad, India Position UN Under-Secretary General and Rector Qualifications QC Pages 336 Publisher Random House USA Inc Publication Date 2005-11-29 Imprint Delta Replaces 9780440576471 Audience General We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! TheNile_Item_ID:2503027;

Price: 27.1 AUD

Location: Melbourne

End Time: 2024-12-15T02:25:48.000Z

Shipping Cost: 9.78 AUD