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Day 3: What I learned …
“What I learned rewriting my scene…?”
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6 Replies
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What I learned is turning points are so ‘delicious’ when they slowly creep up on you. All of these turning points had an eerie feeling that got more intense and just were able to draw us in so cleverly. Every turning point seemed to pose a question that we had to hang on to in order get the answer. I rewrote a few of my turning points using this idea making them all the better.
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What I learned was the need to have a central character to identify with. In “Get Out” Chris is craftily drawn into the conspiracy as its intended victim. First he’s unwittingly hypnotized. Second, he’s horrified by what can become his fate as seen in Logan’s brief self-realization and warning. Finally, he attempts to escape the horror but is betrayed by a person he believed was his ally–his girlfriend. The clattering of the teacup signals the trap. He is helpless as he literally falls into it. There is no superior position for the audience. We experience Chris’s horror at the same time he does.
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What I learned is that scenes are dramatic and turning point scenes need to have a lot of drama in them. Here, Annie the protagonist said and did things that she could not undo. She acted in the worst sort of ways. I think my characters are too calm and dignified a lot of the time and it would make for a much better story if they let their thoughts and emotions flow more freely.
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I learned that turning points always need to have a revelation attached to them. Like her hypnosis is permanent. The Logan scene reveals that there may be cracks in their control and the third was that the girl friend was working him the entire time.
In bridesmaids she revealed how she really felt about her best friends relationship with Helen. The audience knew it but not the bride.
I took a look at some of my turning points and noticed that they all came with a pretty good reveal. They could be stronger so that’s what I worked on.
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I learned in the Turning Point portion of the class how to build towards a turning point. It’s necessary to build towards a turning point. You can’t just have a turning point without reason or build up to that turning point. I have returned to my TV pilot and looked at various turning points. I did not realize I had turning points in my script for several characters. It’s what makes it interesting.
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I learned to make sure stories have definite turning points, to pay close attention to them, to make them dramatic and intense. I learned turning points force the lead character (often others) to go forward in a different direction. Turning Points propel the story and reveal new information that prevent characters to return to an earlier state, point of view, or intended action. In the movie Body Heat, once the lead character Ned Racine (William Hurt) agrees with Matty Walker (Kathleen Turner) to kill her husband, they can’t return to a state of no jeopardy. They are vulnerable to being caught by detectives and executed. Each is at the mercy of the other to keep their secrets. They are forced to trust the other with their lives.
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