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Day 2 Assignments
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11 Replies
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Mike O – 3<sup>rd</sup> Act Structure
What I learned doing this is… the 3<sup>rd</sup> act structure, the various tools at a writer’s disposal to keep his creativity in check; it all works in concert to create the script that a producer wants to make into a movie.
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[I] Answer the 5 questions below so you have a good understanding of the foundation that needs to be considered as you create your ending.
1. What is it that fascinates you about this story? The idea that ‘love finds a way.’ ————————————————————————
2. What is the main conflict of the story? Protagonist must forgive what has happened, embrace her father’s legacy, and accept the love she that has literally show up on her door step. ————————————————————————
3. What is the main goal/need of your protagonist? Goal – to become a recognized painter; Need – to be in love ————————————————————————
4. What is the character arc of your main characters?
a. Brooklyn (protagonist) – she begins indecisive, a workaholic who exhibits OCD behavior under stress, she is non-confrontational throughout the movie as she deals with she loss of her father. At the crisis point, we see Brooklyn take a stand, she has figured out what is truly important in her life.
b. Tarek (love interest) – He starts off an over-protective single father who falls instantly for Brooklyn, not sure if it’s love at first sight, or his need to have his family whole again. His friendship with Brooklyn develops into more and Tarek realizes she is part of their family.
c. Richard (antagonist) – He begins the movie a womanizer, he is clearly manipulative. A sociopath who wants to be rich, doesn’t matter how he becomes wealthy. His obsession with paintings, with discovering talent and being a part of it makes him incapable of letting go of Brooklyn’s gallery. Greed is his undoing as he decides if he can’t have the gallery, no one will. He steals the paintings he loves, then burns the place to the ground. ————————————————————————
5. How do you want this movie to end? Upbeat: happy-ever-after, love finds a way. ————————————————————————
[II] Give a short description of how each of these structural steps will occur in your script.
[1] Plot Point 2 – End of Act Two, the Low Point, Tarek (love interest) collapses, his boys call Brooklyn
[2] Crisis – Decision Point: Int. Vehicle – Brooklyn sees the charred remains, is stunned; sheriff talks w/ her. Brooklyn tells herself: “Richard is going to pay.” Looks at her reflection in the rear view mirror and says, “Smile, your on candid camera.” Forced, she is not going to let it go, not going to be run off forced to make a huge choice — usually between her goal (acclaimed painter) and her need (to be in love, to have a place to call him, set down roots)
[3] Climax – Protagonist & Antagonist face off. Brooklyn and Richard square off. They trade insults, he hands her the updated insurance policy with his name on it. She presents him with photos from the surveillance system she had installed. Sheriff waits in the wings, steps in and arrests Richard.
[4] Resolution – Effects of climax: Richard is arrested, Tarek and his boys & Carolyn and her family all celebrate Christmas at Brooklyn’s father’s cabin. Tarek proposes to Brooklyn.
[5] Final Page – Final minute of the movie. We see
INT. BROOKLYN’S CABIN – CONTINUOUS
CHRISTMAS MUSIC playing, CRACKLING of cedar logs in the fireplace. On the mantle, Santa’s mug and cookie plate, minus the cookies and fudge. Under the tree, dozens of presents sit in wait.
We TRACK past the scene taking place and move toward a self-portrait of Joshua hanging on the far wall, next to Brooklyn’s recent painting of the meadow we just left.
HOLD ON Joshua’s expression… Did he just smile?
Brooklyn, in slippers and a house robe. Tarek and his boys on the couch, in their pajamas. Bed head, the lot of them. Everyone with a cup of hot cocoa.
TYLER (points to mantle) “See Brandon, told you Santa would come.
Brooklyn walks over and retrieves the mug and cookie plate.
BROOKLYN (holds plate up) “You’re right. I think he has as big a sweet tooth as you do.
TAREK “That’s up to Brooklyn. We’re in her house, son.
BROOKLYN “Yes, you may.
Tyler, hardly able to contain himself, points to the presents.
TYLER “What are you waiting for?
TAREK “One at a time, you know the rules. Tyler, would you go get my camera, it’s in the bedroom on the dresser.
Tyler’s on his feet and moving toward the guest bedroom.
SERIES OF SHOTS
A) Tyler tearing into a present.
B) Tarek snapping off photos.
C) Brandon rips off the wrapping, pulls a Swiss Army knife.
D) Brooklyn, more careful and restrained, opens her present holds up a tee-shirt, it reads: Monopoly Queen.
E) Tarek shakes his present, holds it up to his ear. Inside, a pair of slippers. He tries them on. Perfect fit.
BACK TO SCENE.
Tarek points to a present propped against the mantle.
TAREK “Brandon, give that one to Brooklyn.
Brandon picks it up carefully knowing what’s inside having helped his dad wrap it. He hands it to Brooklyn who thanks him with her eyes.
Tyler, scrunched up against her: wanting to see, wanting to help. They UNWRAP the gift together.
CLOSE ON FRAMED PHOTOGRAPH of Brooklyn with her first Christmas tree.
BROOKLYN (choked up) “Thank-you, guys.
She gives Tyler and Brandon a HUG, Tarek a KISS, then places it on the fireplace mantle.
Tarek gives Brandon a “thumbs-up,” turns to Tyler with a finger pressed to his lips, shushing him. It is clear he is a man who shares decisions with his family, a father who has spoken to his sons regarding what’s about to transpire. Brandon grabs the camera and steps back.
With her back to them, Brooklyn takes a moment to regain her composure.
Tarek reaches into his camera bag and pulls out a small, black-felt box — struggles to get down on one knee — holds it out in front of himself as Brooklyn turns around.
TAREK “Brooklyn, since you came into my life, I’ve been blessed. I love you and want to spend my life with you, if you’ll have me?”
Brooklyn: her hand covering her mouth, says at a whisper:
BROOKLYN “Love finds a way.
She takes a faltering half-step, then another, unaware Brandon is capturing it on film.
CAMERA LENS – POV
Brooklyn’s joyful smile; her eyes aglow… curtain of hair engulfing Tarek, still down on one knee, as she smothers him in a hug. CLOSE ON Tarek sliding the diamond ring on her finger.
TAREK “Brooklyn will you marry me?
BROOKLYN “Of course I will.
HOLD ON their KISS…
ROLL END-OF-FILM CREDITS
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Cameron Martin’s Openings!
What I learned doing this assignment is…brainstorming can be an exhaustive creative exercise, but there’s no limit to what you can come up with. I really liked my initial opening. I think it does everything I want it to, and yet, there are some others I didn’t even know could work so well. I don’t want to make the mistake of some films, like VENOM or JOHN CARTER, and have more than one opening, thus restarting the film over and over again. But there’re a couple of these that could work really well as future scenes and may even serve as a better opener when thinking of the themes of this story. Four of these endings should fit the “Atmosphere of Evil” convention of Horror movie openings. The Jude opening can fit this style of opening if I write her dialogue to be ominous and superimposed over morally questionable acts.
1. Action Opening from another place in the movie…
Sully and Isaiah fight their way through the crossfire between ravenous zombies and spacemen. Sully’s apologizing to his son who appears very sick. Sully’s also taking responsibility, saying it’s all his fault for the mayhem occurring around them.
2. The Shocking Opening from a different point in the movie…
As people congregate in a bunker, a family with their teenager and pediatrician work to try to resuscitate their teenage son. A lethal syringe is used to euthanize him before something horrible happens, only for the son to open his mouth wide and break it from his skull. The doctor injects himself with the lethal solution.
3. Instant conflict opening with a twist/trick…
Sully and Beth argue about his treatment of Isaiah. Sully believes Isaiah should be treated like a normal kid and should be held to high expectations like any kid should be, while Beth argues that because Isaiah is an exceptional child, then he should be treated with exceptions. This argument builds to a boiling point before Beth’s mouth cracks open from her skull and devours Sully’s jugular — prompting Sully to wake up, alone in his bed.
4. The unique character VO that’s unusual…
Jude presents her case for why she should be “handed the reigns” for the new space colony that this story takes place on. It’s a job interview VO, while Jude surveys the space colony and covers up little things and experiments on one of the worms with fungus shoots in its head.
5. The Setup/Twist Opening with a unique character…
Isaiah appears to be scurrying away from a hostile monster, only for the thing he’s really scared of to be his dad finding out he’s not in bed. The monster he was running from is actually his pet.
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DAY 2 – Opening Events that Dazzle!
Lisa’s Openings!
What I learned is trying different scenes out gives you other options that maybe you didn’t think of the first time around.
TYPES OF OPENINGS:
1. Instant Conflict OpeningSanta is being held against his will; tied up and gagged. We don’t’ know where he is, but he is in the back room of Peter Winter’s snowmobile shop. He is being interrogated by Peter as to how he moves down chimneys. A tracking device is found, and Peter threatens Santa with a gun.
2. The Shocking Opening
Peter Winters, who suffers from PTSD takes Mary, his wife hostage and threatens to jump off the George Bailey bridge with her. Peter’s brother, Bert tries to talk him out of it. Peter jumps taking Mary with him.
3. The VO that’s unusual
Mary is tied to a man, and they are both hanging off the George Bailey bridge in a fierce rainstorm. Mary breaks the fourth wall talking to the camera. She says: “They say when you’re near death, your life flashes before you, I’m dangling here wondering what will happen to my family if I don’t get out of this. Especially since the guy below me is my husband. What would happen if I weren’t here? How do you save a war hero? Well, this is what I do. I’m a mother in America! Like all mothers, I work my ass off every day to convince everyone around me, and sometimes myself, that it really is a wonderful life.” Snap! The rope breaks and Mary falls out of view.
4. The unique character
Mary is in her kitchen taking Christmas cookies out of the oven. The counters, dining table, and sideboard are covered with Christmas treats, cakes, candies, cookies, pies. Mary is on her cell fielding questions about the It’s a Wonderful Life festival to a reporter. What’s this? Mary is in a t-shirt and shorts. Mary calls for Uncle Billy, the dog in between questions. Mary says to the phone, “I know we’re in the middle of a heatwave, but it’ll be fun. And the show must go on!”
5. The action opening
Two helmeted snowmobile drivers are racing through the snow in a forest. Pan out to see Santa Claus is on the back of one blindfolded. Two US agents are racing behind them in their car.
6. The “trick” opening
We are inside the movie It’s a Wonderful Life. Mary Bailey is just about to close up the library. But Mary isn’t being played by Donna Reed anymore. It’s someone we don’t’ know. The scene plays out with Jimmy Stewart’s George Bailey accosting the new Mary Bailey on the street. Mary screams. Runs into a bar. George Bailey yells that she’s, his wife. Mary Bailey faints. FADE OUT. FADE UP. Mary Winters wakes up suddenly and looks around. She dreamed she was Mary Bailey.
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PS81 – Dana’s Openings!
What I learned doing this assignment
Brainstorming my original opening forced me to think outside the box. This process pushed me to create ideas I had never considered, and while I may still use my original opening, I have a variety of concepts to use and take my original idea to the extreme. This method helped me push through a block, providing another opening I intend to use as my second scene.
OPENINGS
1. Instant Conflict Opening
Over an aerial shot of San Francisco, a VO of Ellen Landry, radio talk show psychologist, having an argument with a caller. The call continues over a shot of the radio station and shots of radio equipment until we’re in the on-air studio with Ellen.
The caller offers his opinion of psychology, resulting in a contentious debate between them. The caller is Ryan, the psychotic personality of a DID patient she used to counsel, who by the end of the call tells her he has kidnapped her family.
2. Contrast Opening
Black. Sounds of someone walking down wooden stairs. A bolt is pulled back. A door opens. A hanging lightbulb is turned on by a pull chain. A man, unseen, prepares a dungeon-like room. He wraps and padlocks a chain around an old, exposed pipe. He attaches an ankle lock to the end of another chain. The light blinks off. The door is shut and bolted.
In an outer room, a wooden chair is placed in the middle of the room, handcuffs, rope, and duct tape are laid on a wooden table, a laptop is opened and turned on, multiple cells phones are set out, an ice bucket with bottled water. He grabs a bottle. We hear him walk up the stairs. A door slams. Black again. The sound of a shower.
In her bathroom, Ellen Landry is showering. Ellen, wrapped in towel, blow drying her hair. Ellen putting on make-up in a mirror. Ellen throwing things from her walk-in closet. Ellen hops on one foot putting on her shoes.
In the kitchen, Ellen greets her husband and two daughters who are having breakfast. They wish her luck. She kisses each, and she’s out the door.
3. The Shocking Opening
Ellen Landry is in session with an unseen male patient. The more they talk about his life, the more he becomes agitated and angry about a relationship. The deeper she proves, the angrier he becomes until Ellen’s eyes go wild, and we hear a gunshot. Her patient has shot himself in front of her.
4. The VO that’s unusual
Blackness. The voiceover of the antagonist, the psychotic personality, narrates his opinion of modern psychology. It’s a soft, soothing, menacing voice. He explains how psychology has failed society. “You cater to the symptom rather than treat the syndrome, pushing pills and telling patients their cured when their insurance runs out.” He ends his diatribe by saying, “But that just my opinion.”
5. The unique character
Ellen Landy speaks before an audience of professionals. She discusses her passion – and theirs – for psychology. She discusses how modern psychology must do better, especially considering the homeless problem plaguing San Francisco. She extolls all the virtues of do no harm before she opens the floor for questions. The last question: “How can a radio psychologist lecture the room when she spends so little time with on-air patients?” She recounts her education and her time in practice (putting in her dues) and suggests she can reach a larger audience dubious of her profession and can encourage them to seek help.
6. The action opening
Ellen racing through Sam Francisco streets in an SUV. She’s chasing after someone. She whips around other cars, apologizing to other drivers as they blare their horns at her. Her phone rings.
Claire Barrow excoriates her, demanding she hurry. “This is life or death. And whatever you do, don’t bring the cops!”
Ellen in her car, screaming around turns. Blocked by traffic, she wheels across four lanes into a one-way alley, booming out the other end.
Ellen bounces into a parking lot. She parks halfway on the front walk, jumps from the car and races inside. Claire is waiting in the lobby. She hustles Ellen toward the stairs. Something life threatening is happening.
Ellen creeps into the conference room, late for a staff meeting with the station manager and the other on-air talent. Sheepishly, she sits down trying not to attract attention, but her every move is watched by everyone. Once settled, the meeting is adjourned.
7. The “trick” opening
Ellen reveals her deepest fears, laying on the psychology couch. She pours her emotions out to her psychiatrist, her marriage, her children, her new career, her wonderful life. We believe she is a patient, until we hear her psychiatrist’s voice, a girl’s voice, maybe ten. And then another girl gives her opinion. “You need drugs.”
Ellen is in session with her two daughters playing psychologist. Ellen on the couch and her daughters sitting in her chair wearing their pajamas. We see Ellen in her homelife with her husband and daughters the night before she begins her new career in radio.
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June Fortunato’s openings Day 2 of Great openings
What I learned: My entire script is written. I love my current opening, which features a unique character, a twist at the end of the first scene- and is directly related to the problem to be solved in the movie, i.e. finding a permanent home- finding a forever love/mate. However, I intend to incorporate some of the ‘types’ of openings into this so it’s a good brainstorming exercise and it helps.
The 10 types of opening possibilities for Retirement:
I know that the assignment calls for choosing one of the types of openings, but my opening involves several types already and because of this assignment, will include more.
Instant conflict Roy is locked outside and tries to flirt his way into his house. It’s not a gun battle, but it is a conflict. When he sneaks into the house, she’s moved out. That’s the twist.
Contrast opening I could cut between Roy, current scene, and Kim when she’s homeless- which would forecast Roy’s soon to be plight. However, that spoils the twist and the surprise and the situations are of a different type: foreshadowing not a true contrast.
Shocking opening I could start with the scene when Roy steals the van, but that kills any empathy the audience begins with – and it also kills his best aspect- which is his charm- It’s also not related to what needs to be solved throughout the movie.
Setup/Twist opening This happens in Retirement: Roy’s flirting with Suzie and the twist is that she’s moved out and he’s in a heap of trouble.
Unusual Voice over – I like this idea so will use it: I currently begin with a two-sentence, over black statement about the ages and dates of the draft to VietNam. However, this exercise gave me the idea to have that statement in Roy’s voice and character.
The unusual character Roy is that. So is Kim. Roy is introduced singing and acting silly to charm Suzie into opening the door. Real goofball <b style=”font-family: inherit; font-size: inherit;”>Kim is introduced after Roy’s inciting incident: She acts nutzo and talks to herself and anyone within earshot.
The action opening: Tough call for Retirement. I’d have to start with a couple of scenes that play later, such as Kim is tossed down the stairs. Roy steals a van. Kim hijacks her brother and takes him on a harrowing <b style=”font-family: inherit; font-size: inherit;”>ride. And this would be combined with a scene that takes place in another part of the movie.
Here are some of the scenes I have that might be used:
1. Roy’s blood in the toilet
2. Kim hijacks her brother for a joy ride.
3. Roy is with the blind man in a lighthouse
4. Kim is a ghost in her own house and finds a stash of incriminating evidence.
5. Roy’s on the rooftop with a noose.
Within the script there are four stories described, not seen. I’m considering beginning with the one that directly impacts a protagonist’s (Kim’s) move against her opponent (It’s described because it takes place prior to the timeline,) by crosscutting it with the current opening.
The trick opening I can’t think of anything to do that I don’t hate for this concept.
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Kate’s Openings
What I learned from this assignment is how of the 10 options reveals more about the characters and relationships. Some of these Opening scene ideas even if not used as an opening I want to use somewhere! Also some were really hard to wrap my mind around and some just flowed – and those didn’t end up being the best necessarily. I didn’t combine any but can see where I could for the next assignment.
1. Instant Conflict Opening
The only Luciana and Darrogh scene when Luciana comes to his house and confronts him and they both swear to be the last one standing.
2. Contrast Opening
• It is a hot day in Sthn CA, Luciana is making tortillas while on the phone in her kitchen speaking in Spanish – angry about what is happening in the town – decides to call a meeting.
• Nia in rehearsal in NY city – a Shakespearian play, a swordfight, playing Mercutio, in preparation for the tour.
5. The VO that’s unusual
Nia talking about/to her Mother as she sets off on this journey, excited to be getting on the bus with the other actors, still searching for her father. Nia holds some precious memories of her Mother so she almost feels her talking to her. Even without contact with that family she always felt she was part of something bigger than her current family with a hidden strength deep within her.
9. Intriguing scene from another place in the movie
Amahla/Luciana flashback scene – near the end when it looks as if there is a relationship, when D comes in – audience sees what he sees and how he behaves. Audience doesn’t know the rest ’til the scene comes back and we get the beginning of it.
10. The “trick” opening
Nia and Shaunn are in a terrible fight and their relationship ends – then we see it is a performance, an audition for the touring company.
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THIS IS A QUESTION.
can someone please remind me how/where I find/turn on the option to now when someone comments on my post? I didn’t have it last time and don’t seem to now either.. :(( my email is kate@wellnesswithkate.com in case I don’t see it here.. THANK YOU
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Anna Harper’s The First Ten Pages
What I learned from this assignment; This was a really eye-opening assignment. An epiphany of sorts. I realized that I have a default habit of writing in a linear fashion. The alternate openings gave me a way to jazz things up, and difficult choices. To shock or not to shock that is the question.
PIRATE written by Anna Harper
1. Instant Conflict Opening
The opening scene is with Sandy and Sophie are having a heated argument on the beach. Sandy and Sophie have inherited their deceased friend (James’s) fortune in exchange for moving to his farm, providing care for Pirate Jame’s dog, and continuing Jame’s legacy work of aiding young homeless people.
Sophie, an out-of-work aging actress, is all for change., a new adventure in life, she is excited by it. Sophie has nothing to lose, the relationship with Sandy has fizzled out, and she is bored,. She is willing to move to their deceased friend’s farm, take on community work with the homeless and care for their Jame’s giant dog. She knows next to nothing about farm life, caring for a huge dog, or having any contact with street people. She will do anything including ditching her partner/live-in lover Sandy, for a more exciting life.
Sandy wants the status quo; a typical cliche version of an older person’s retirement.They conclude the argument with Sophie announcing she has already ordered a moving van. Sandy is staying put.
3. The Shocking Opening
This opening is taken from later in the movie;
On her walk into town, Sophie sees what looks like a pile of garbage bags moving. It’s yet another boy, with a garbage bag of his clothes (dressed from head to foot in hot weather in black) collapsed in a heap.
He is covered in bites from bed bugs at the shelter, half-starved, and delirious from dehydration, he loses consciousness. Sophie calls an ambulance, waiting hysterically for the ambulance to arrive. She tries CPR, nothing. . The medics cannot rouse him, inject naloxone, AED, etc to no avail, he is dead. O.D. on fentanyl.
5. The VO that’s unusual
Opening V.O. with a telepathic conversation between Alfie (Pirate’s littermate and hero) from Silent Night (pilot) and Dylan, (the boy Alfie rescued and came to live with.) They are having a secret meeting in the kitchen using Dylan’s Dad’s computer while Dad is asleep. Dylan finds Alfie’s littermate Pirate through a Facebook group for Newfi dogs. Then Alfie tries something remarkable using his superpowers of telepathic communication to dial in his littermate Pirate. The littermates plan a reunion.
6. The unique character
PIRATE
Montage. Pirate is dragging a swimmer, who has got into trouble in the water, out onto the beach, and rolls the victim onto his front, (spitting water out.) People are cheering him on. Pirate accompanies Sophie walking through town, talking to homeless youth, and helping Sophie to make connections. Pirate is sleeping beside Chris the first lad at the farm, who is minus a leg due to septicemia. Camera work will establish, through the use of light effects, that Pirate’s superpower, is a ‘healer’ dog.
9. Intriguing scene from another place in the movie
The police arrive at the farm in the dead of night. Sirens and lights. One of the boys has got himself caught dealing drugs. He is part of a larger gang conspiracy to recruit vulnerable youth and impose control on the boy’s families as a way of networking drug dealing outside of the larger cities to smaller towns. In reality, It’s a well know scheme called The Cuckoo’s Nest. Sophie questions her capacity to deal with everything from the death of a street youth and lads who live at the farm and their drug dealing ways.
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Matthew Frendo’s Openings!
WHAT I LEARNED: I learned about the types of openings that work and how to create them. This will make my scripts stronger and more marketable.
1. Instant Conflict mixed with Contrast Opening
Start with all players being taken before game, contrasted with the host and rich people who enjoy the game.
-In this version, every player would be soon doing something in their lives, just as the authorities bust in and take them. It would give a quick intro to each character. As it does, it also shows the host and authorities living lavishly as rich, powerful douchebags.
2. Shocking opening mixed with action
Start with end of last year’s game, with the wolf bloodily killing the last one or two people, who are huge felons.
-In this version, it starts with a horror element. The wolf is a bloodthirsty beast and we watch him kill the last two contestants from the year before. They will be bigger and meaner than any of the players this year, making it seem impossible for this year’s batch.
3. unique world mixed with action and some twist
Start with Alicia getting taken in street while stealing food
-In this version, Alicia would get word that they are taking her son and she tries to pin his bracelet on another while stealing food for him. She is then taken in the street by authorities, once they catch her after a chase.
4. interesting VO opening
Start with VO from hundreds of years later, talking about how people in the future lived from the past POV
-In this version, a VO appears talking about how things were back in the day in 2070. It might be the son of a contestant or a historian talking about the end of brutality or start of brutality. It might be someone talking about how this helped ruin the future as well, which could be interesting.
5. plunge into unique world
Plunge right into making of show, including tallying votes on who’s going into the hunt
-In this version, we start with the Host and his team getting the show ready. They show who are being voted for, with the host taking some out (illegally) for various reasons like they are too good looking. It shows us what’s going on behind the show just as they are getting it all together.
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Day 2 – Opening Events that Dazzle – Assignment
Mike O – Openings!
What I learned from this assignment helped me to stop thinking and being so linear in my thinking and crafting of a script. I found that several of the openings will work well elsewhere and add to the script’s twists and turns. Admittedly, I was hesitant as I think I write really good introductions to my scripts. Again, follow the process, learn and keep your mind open!!!
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[1] Select 5 possible openings for your script and choose one.
TYPES OF OPENINGS:
1. Instant Conflict Opening — make the opening about an ESSENTIAL conflict for your story. Then find a way to express it that has substantial meaning.
2. Contrast Opening — Two opposites are portrayed. We get to see the differences and then they are brought together for the rest of the movie.
3. The Shocking Opening — Usually it will demonstrate just how bad the antagonist can be. You simply take their worst trait and take it to an extreme.
4. The Setup/Twist Opening — You must know what you want the audience left with after the twist, then have the setup be the opposite of that.
5. The Voice Over that is unusual — The key word “unusual.” A voice-over that explains the story is dull and in most cases useless. But an unusual VO adds to the story.
6. The unique character — Take your main character’s most intriguing trait and introduce the character through that trait.
7. The action opening — Usually, it shows us how skilled the protagonist is so we know that he or she will be worth watching during the movie.
8. Plunge us deep into a unique world — Key word is UNIQUE. You must have a truly unique world or an extremely unique part of a normal world, you can plunge us into it through conflict.
9. Intriguing scene from another place in the movie — Pull a scene from another part of the script can not only create excitement, but also have us wonder how all this happened.
10. The “trick” opening — what you see on the screen is not what is really happening. You are essentially tricking the audience. This requires careful planning and there must be a payoff that is valuable.
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[II] Once you have 10 or more ideas, select the best five and write a paragraph or two to describe each opening.
1. Brooklyn opens a letter from a law firm informing her that her father died. #3 & #1 || A normal day, comes home, checks the mail, goes to her townhome, unwinds, pours wine, enjoys Xmas music, then opens her mail and gets the horrific news about her father.
2. Brooklyn gets a certified letter w/ a huge check, the note says she can only cash it in Evergreen #3 & #1 Mailman comes to her door, she knows him, they exchange pleasantries, she signs for the letter, has no idea who is in Evergreen Colorado. Opens it and it is a check for $800,000. A note is pinned to it that reads: “This check is only redeemable at the First Evergreen Bank and Trust. Ask for Mr. Tippen. He will complete the transaction and have you sign the necessary papers.”
3. Brooklyn has a crazy dream of her father and her at Xmas; learns he died that very morning. #9 & 3 Brooklyn is in a extremely heightened world: lights, sights and sounds of Christmas amped up. She is ice skating effortlessly. Her father is also a world-class skater. The two skate a dramatic routine together. Brooklyn wakes up from the magical world and finds herself alone in bed. Hour later, over coffee, she gets a call from her father’s lawyer, informing her he passed and she is the executor of his will.
4. Brooklyn receives file on her computer. Opens it; it’s her dad’s eulogy w/ commentary. #10 & #5 The video files opens with the priest saying a few words, sprinkled in between his platitudes, the commentator’s take on things: sarcastic, insightful, damning. Commentator makes it sound his Brooklyn’s father was a no good, drunkard…. This reinforces the lies her mother told her…. She goes there and discovers the truth.
5. Brooklyn hears on national news, a man dies saving 2 children from a wolf attack; it’s her dad. #3 & #2 Making dinner, TV on for background noise. She hears the name “Joshua Caine Murray” and is all ears. She runs into the other room and listens to the commentator summarize what took place. The news feed cuts to a local crew in Evergreen, showing the place where the attack took place, Joshua’s gallery and ends with a nice photograph of the man. News anchor comes back on and says, “For those two little children, Joshua’s selfless act of heroism became a Christmas miracle.”
6. Brooklyn’s dad, dead in a snowdrift. He was drugged (by antagonist) Richard for the gallery. #3 & #7 CLOSE UP of a dead man lying in a snow bank. Covered in snow, bottle of whiskey in his hand, it appears he passed out and froze to death. CUT TO: Coroner’s office, Exam table – man appears fit and trim, still he’s dead. Tox-screen comes back; he didn’t die from an alcohol-related death. He was rufied: Xanax along with flunitrazepam were found in his system.
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[III] Number them and tell the type of opening it is.
1. Brooklyn opens a letter from a law firm informing her that her father died. #3 & #1 2. Brooklyn gets a certified letter w/ a huge check, note says she can only cash it in Evergreen #3 & #1 3. Brooklyn has a crazy dream of her father and her at Xmas; learns he died that very morning. #9 & 3 4. Brooklyn receives file on her computer. Opens it; it’s her dad’s eulogy w/ commentary. #10  5. Brooklyn hears on national news, a man dies saving 2 children from a wolf attack; it’s her dad. #3 & #2 6. Brooklyn’s dad, dead in a snowdrift. He was drugged (by antagonist) Richard for the gallery. #3 & #7
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PS81 Day 2 (First 10 Pages) Anita’s Openings!
What I learned: I started this exercise with a mental block, because I like the opening I have already written. But this was still a valuable brainstorming exercise and gave me a few ideas for incorporating more depth into later scenes. (I have indicated these options in Italics, below.) And describe them in my last paragraphs.
ASSIGNMENT
Select 5 possible openings for your script and choose one.
Rethink the opening of your movie through the openings listed and brainstorm as many ideas as possible.
1. Instant Conflict Opening
Later in my script I have my Protagonist (a pro-rights advocate Lawyer) argue against restrictive anti-abortion state legislation. This could potentially open my film, but I need to establish WHY this is such an important issue to Danica.
I already have her argue the pros and cons of an unwanted pregnancy very near the opening with her evangelical sister.
2. Contrast Opening
A career woman contrasted with a weary overburdened mother?
An lonely elder woman regretful she never had children talking to a retirement home friend who has kids and grandkids visiting all the time?
I already have Danica (an independent liberal woman contrasting with her religious sister who has kids)
3. The Shocking Opening
Cyrus, already the narcissistic hypocritical and manipulative politician can be seen in bed with a woman – not his wife, and NOT Danica!
(Later, we could see Cyrus taking bribes, or campaign money under the table.)
4. The Setup/Twist Opening
I set up a difficult birth with an anonymous woman, then reveal later it’s Danica – who does not go through with a planned abortion, as she indicated to Cyrus that she would.
5. The VO that’s unusual
Hmmm. This disembodied voice scenario does not work for me.
Only idea that comes to mind is perhaps Harley’s retrospective V.O. from prison – which would only make sense when we reveal why she’s arrested at the very end…. But I think this gives away too much.
6. The unique character
My most unique character is Harley, who grows into a psychologically twisted young woman. But she is introduced as an infant, then child, then teen, then 20-something murderess. So not sure what I can do here, in the opening with her?
The most unique thing about my Protagonist, Danica is her moral ambiguity (having an affair in spite of religious upbringing) I will have to consider ways I can amp this up.
7. The action opening
This intrigues me, but I don’t know how to brainstorm it into my script:
“Action openings work very well in movies where the opening action scene causes a bigger problem that must be solved or injures a character who returns for revenge or rescues something that the rest of the movie is about.”
Action causes bigger problem / Injury / Rescue / Revenge.
One thought comes to mind: Have Danica injured in some way while giving birth to Harley (need for a hysterectomy?) and this becomes another reason she is resentful toward her and abandons her.
8. Plunge us deep into a unique world (Moulin Rouge/Platoon)
I could be futuristic with my concept: What if no one could ever even consider abortion as an option? Overpopulation, maternal deaths, etc. would be the fallout. But then I feel like I am plunging into HANDMAID’S TALE territory.
Or, conversely, I could set the concept of forced birth in the past, when the earth was highly unpopulated and every entry into the gene pool was critical;
Or a dystopian future where infertility is about to wipe out humanity (as in CHILDREN OF MEN)
Or a cult where pregnant women are deified…. or vilified.
9. Intriguing scene from another place in the movie
I already have this. Danica gives birth, but we don’t know it’s her, and the woman passes out at the end of the scene – maybe dead.
Unwanted and dangerous childbirth is one of my major themes, and I can’t think of any other scene to better accomplish this.
10. The “trick” opening
My story, steeped in so much realism doesn’t lend itself to this concept.
Once you have 10 or more ideas, select the best five and write a paragraph or two to describe each opening.
I currently have an “Instant Conflict” built in where I have Danica argue the pros and cons of an unwanted pregnancy with her evangelical sister. And a “Setup/ Twist” where I set up a difficult birth with an anonymous woman, then later reveal it’s Danica – who does not go through with a planned abortion, as she indicated to Cyrus that she would. I also already have an “Intriguing Scene from another place” -. Danica gives birth, but we don’t know it’s her, and the woman passes out at the end of the scene – maybe dead.
There were two ideas that I like and may try to incorporate:
“The Shocking Opening” where Cyrus, already the narcissistic hypocritical and manipulative politician can be seen in bed with a woman – not his wife, and NOT Danica! And perhaps later add a “Contrast” like this: An lonely elder woman regretful she never had children talking to a retirement home friend who has kids and grandkids visiting all the time.
One last idea inspired by the “Action” opening: Have Danica injured in some way while giving birth (maybe a hysterectomy?) and this becomes another reason she is resentful toward Harley and abandons her.
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This reply was modified 2 years, 11 months ago by Anita Gomez.
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