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Lesson 14
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7 Replies
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Ken Wood’s Scary-As-Hell Scene
I learned that starting with horror emotions in mind and trying to use them to map out the scene first, helps make for a richer scene. Especially, by incorporating releases, also deemed false alarms, that enriches the scenes with unexpected twists, and unexpected twists are always good.
Horror Map
Anxiety: Keaton gets on his stomach to peer into the dark engine room to see if he can spot the killer spider. With a flashlight he scans the room. There, at the foot of the steps, is the dead body of the Port Supervisor on the floor.
Surprise/Scare: Rexy shouts, “Careful!” Keaton jumps.
Keaton jumps.
Keaton:
I’m being careful. That doesn’t help.
Release: Keaton on edge, resumes his scan of the walls. Something moves close to his head. Keaton jerks his hand out. The flashlight gets knocked out of his hand and sputters out on the floor.
Fear: He takes out his cell phone and turns on its light, and carefully aims it where he saw the movement. This time he realizes that a wall-mounted coat rack’s shadow was what moved when his light went from right to left.
Release:
Keaton
It’s just a coat rack. I don’t see anything else. Come on. Let’s go down.
Dread: The three descend down the ladder stepping over the Port Supervisor’s body. Keaton carries a rope they will use to get the Port Supervisor’s body out.
They search around the entire engine, dreading that they could be attacked with little chance of escaping.
Fear: The three are unaware of the movement taking place in the leg of the Port Supervisor’s pants, but the audience sees it.
Release: Keaton ties one end of the rope around the Supervisor’s chest. They all go up the ladder and begin to pull. The body come part way, but a knife in a belt pouch gets caught on the ladder.
Anxiety: As the body is hoisted up, head first, the spider falls out of the pant leg and retreats into the shadows. Keaton volunteers to go back down and fix the problem.
Dread: As Keaton pulls down on the body, the rope starts slipping out of Rexy’s and Atticus’s hands.
Shock: The rope slips completely out of their hands. The body knocks Keaton to the ground. Keaton hits his head and the body pins him to the floor, arms and all. Keaton is dazed.
Dread: The Spider crawls out of the shadow for a second and retreats. Keaton, still in a daze and weak, tries to get his arms free.
Panic: He looks up to see the Spider has moved up on the body just above his head. The fangs of the Spider protrude and venom beads form on their tips. The Spider hisses and begins to attack.
Surprise/Shock: The metal clap of Rexy’s POLE NET snaps shut around the Spider’s body, an inch from Keaton’s nose.
Panic: The Spider rages like a hooked Marlin. She pulls it out of the hole.
Release: Keaton, with renewed adrenaline, gets his arms out, pushed the body off and hustles up to the top deck. They subdue it several sprays of CO2, causing it to relax and go to sleep. They decide to take it to the lab right away and start to leave.
Release:
Atticus
How about the Supervisor’s body?
Keaton
I’m turning that duty back over to the Sheriff. Let’s go.
The Scene:
All are in suits and gloves. Keaton slowly opens the hatch. The stench knocks them back. Keaton approaches and kneels.
KEATON
Flashlight.
Rexy hands it to him. He shines it into the hole and looks around. He gets on his stomach and leans in to look.
REXY
(loudly and abruptly)
Careful!
Keaton’s body jumps.
KEATON
I’m being careful. Let’s not do that.
REXY
Sorry.
Keaton scans the Supervisor’s body with the flashlight.
REXY
Do you see the Supervisor?
KEATON
Yes. He’s at the foot of the stairs.
Keaton shines the light up the walls and onto the ceiling. The light casting a moving shadow on a sprinkler makes it look like a moving spider.
Keaton jerks back, and drops the flashlight. It hits the floor, sputters, and goes out.
KEATON
Crap.
REXY
Did you see it?
Keaton gets out his phone and turns on its flashlight. Cautiously, he peers back in and shines the light on the object.
KEATON
No. Just a scary sprinkler head.
We follow the light around the room again.
KEATON
It must have moved behind the engine. You guys ready to go down?
Rexy and Atticus give each other concerned looks.
Keaton descends first with the rope, keeping watch as Rexy and Atticus follow. Rexy hand a CO2 tank to Keaton.
Keaton drops the rope on the floor. Rexy has a spring-loaded net, with its jaws opened and ready.
KEATON
Watch out for the body.
They step over it. Keaton hands the tank to Atticus.
Slowly they creep around the left side of the engine. No spider. They make their way to the front again and start around the right side.
We see the Supervisor’s body again. Unknown to the search party, a crawling movement takes place inside one of the pant legs.
The trio scans the right side and back side of the engine, finding nothing.
REXY
Where did it go?
ATTICUS
Maybe it made its way out through the exhaust duct.
REXY
That sucks.
Keaton scans the room again.
KEATON
Hmm. Well. Let’s get the body out. Help me get this rope under his arms.
They lift while Keaton secures the rope.
KEATON
Let’s go topside and pull him out.
A moment later, from both outside and inside the engine room, we watch the three attempt to heave the body up the ladder. All have taken off their face guards.
We see crawling movement inside the pants leg.
The Supervisor’s knife/belt pouch catches on a ladder rung. They pull harder, but, to no avail.
REXY
He’s stuck.
KEATON
Can you two hold on, while I go back down?
ATTICUS
Go for it.
Keaton gingerly lets go and makes his descent, around the decaying body, to the floor. He spots the knife pouch wedged under the rung.
KEATON
Give me some slack.
Atticus and Rexy inch toward the hatch. Keaton hugs the legs of the body as he struggles to loosen the knife.
KEATON
A little more.
The rope start to slide in Rexy’s glove. Atticus feels it.
ATTICUS
Hold on.
REXY
He’s too heavy.
Keaton pulls down on the belt. The knife pops loose, and the Spider falls out of the pants leg into the shadows below.
The rope jerks out of their hands and whips into the hole. The body falls down knocking Keaton on his back and pinning him, arms and all underneath the body.
A head bump leaves Keaton’s vision blurred. He blinks to and shakes his head to regain his vision. Rexy’s voice calls to him like in a distant cave.
REXY (O.S.)
Keaton. Are you okay?
From the shadows, to the right of his head, comes the SPIDER’S HISS.
Keaton’s eyes squint. A spider leg steps out from the shadows. Keaton struggles to get his arms free to no avail.
The spider leg retracts into the shadows. Keaton holds still to listen. He scans the room. Where did it go? Where the heck did it go?
REXY (O.S.)
(echoing)
Keaton.
He turns his head to search the left side. Nothing but a rotting face. He struggles to get his arms free.
Keaton’s POV: He looks directly up to see the spider’s legs creeping over the top of the body toward his face.
Closer. Closer.
A low HISS. Huge, red, hairy fangs flex open to reveal sharp, black fangs. Beads of venom form on the tips. It slowly raises its two front legs straight up.
The spider crouches in striking position. It emits a blood-curdling SCREECH and LUNGES toward him. Keaton abruptly closes his eyes and turns his head away.
He hears a SWISHING NOISE and a METALLIC CLAP. The spider SHRIEKS.
Keaton dares open his eyes. The spider is caught in the net, FIGHTING and RANTING like a fresh-caught fish.
At the other end of the net handle is a shaking, wide-eyed Rexy. She pulls the net up out of the hole. Atticus sprays it with CO2, trying to anesthetize it.
Keaton uses new-found adrenalin to push off the body and climb out of the hole.
ON DECK – MOMENTS LATER
They observe the now-calm spider. Rexy’s shaky hands holds out the net handle to Keaton.
REXY
Here, Keaton. You take it. I feel like I just reeled in a Marlin.
Rexy and Atticus crouch to get a closer look. The spider lunges at them. They jump back up and away. It keeps lunging.
ATTICUS
Hold still sweetheart. We just want a closer look at your beauty.
Atticus leans his head down again. A sudden burst of CO2 engulfs the net. Atticus jumps and turns to see Rexy, lips pursed, ready to give the spider, yet, another blast.
ATTICUS
Thanks for the warning.
The spider, sluggishly continues to move. She blasts it again. Finally, calm. They peer at it.
REXY
Well, Mr. Xanderman, do you recognize it?
Atticus squints to get a close look.
ATTICUS
I can’t tell for the net and CO2.
Rexy SIGHS in disappointment.
REXY
Let’s get it to the lab. We’ll figure it out there.
Keaton and Rexy de-board the boat. Atticus looks at them and then back at the engine room entrance.
ATTICUS
Aren’t we forgetting something?
KEATON
Huh?
ATTICUS
You know, Mister Spider Bait.
KEATON
The Sheriff just inherited that job again.
REXY
I agree.
ATTICUS
It’s the American way?
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This reply was modified 2 years, 1 month ago by Kenneth Wood.
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This reply was modified 2 years, 1 month ago by
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Kris’ Scary as Hell Scene
What I learned from this lesson is exactly why I wanted to take this workshop. I love the idea of building a scene from the emotions out. Scenes need to have flow, and I know they need be different by the end than they are at the beginning, but this is such a great way to approach it.
SET UP: The Quarterman has just lost one of his arms during an assault on the Sullivan home. Mrs. Boyle is still in shock and mourning the loss of her son Kieran who was found by the search party without his leg.
EXT. BOYLE HOUSE – NIGHT
Through the thinly veiled curtain, Mrs. Boyle eats alone at her dining table.
The Quarterman lumbers into her yard. He watches her through the window.INT. BOYLE HOUSE – CONT’D
A cooked ham atop the center of the table. A large carving knife rests in it.
A place setting where Kieran’s chair sits empty.
Mrs. Boyle knows she has to eat, but isn’t hungry.
She doesn’t notice that outside the curtains, the Quarterman’s silhouette is on the move.She takes one last bite. Pushes her plate aside, and lights up a cigarette. Stares out into space, lost in thought.
CRASH.
Mrs. Boyle turns toward the sound of a broken window from the other room.
She freezes mid-drag. Holds her breath.
Footsteps approaching from the other room.
One large.
One small.
Coming closer.
Large.
Small.
Closer.
Large.
Small.
Her cigarette ash grows longer as it smolders.
Her eyes shift from the doorway, to – –
THE CARVING KNIFE in the center of the ham. Can she reach it?
The Quarterman turns the corner, enters the room.
Mrs. Boyle tries to process what she sees.
Finally she exhales a lungful of cigarette smoke that she’s been holding.
The Quarterman steps toward her.
She grabs the knife from the ham, and defends herself with it.
The Quarterman advances, and then she sees – –
KIERAN’S LITTLE LEG as part of the Quarterman’s assemblage.
The tears stream from her eyes.
The Quarterman advances, and – –
Mrs. Boyle will give him no satisfaction as she draws the carving knife across her own throat severing her carotid artery.
Blood sprays across the sheer white curtains.
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Rachelle’s Scary-As-Hell Scene
What I learned: This seemed like something we had already done, so I was confused at first. I realized it was the combination of a lot of things we had already done and just let it flow.
ACT 1 (Opening Scene)
EXT. DAY – ABANDONED ELEMENTARY SCHOOL
Horror Situation – Spooked – doing something forbidden. Estrella is peering through a window and sees the Doctor performing a morbid surgery.
Sequence the horror emotions – Apprehension, Surprise, Fear, and Panic.
Apprehension: Estrella sneaks up to an exterior window and peers in. She is clearly nervous. She knows she shouldn’t be there (scare). Her tension eases when she realizes she has a great view and no one can see her (release).
Surprise: Estrella sees a woman on an operating table. Her mouth is held open and the procedure seems to be dental. The Doctor steps back, admiring his work. Medusa takes her forked tongue and touches it to her new fangs. There is a swirling mass of snakes atop her head. Medusa’s snake-like eyes open and dart in Estrella’s direction (scare).
Fear: Estrella stumbles backwards, startled (release). She goes back to the window, but the room is empty (scare).
Panic: Estrella takes off running through the woods. She is dodging branches and leaping logs. She jumps and lands on…. Nothing, crashing through twigs and branches into a deep dirt hole. She hits the ground on her ankle hard and cries out, but stifles it with her hand. She can hear the voices of the Doctor and Medusa as they search for her. She waits quietly until she can no longer hear them (release).
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Mike’s Scary as Hell Scene
What I learned form his assignment is the importance of shifting emotions to create horror in a scene.
HORROR MAP
Anxiety: Emily has been taken away .
Apprehension: Emily is now the next victim.
Release: Brad asks The Professor to help him.
Suspense: The monitor goes off and the lights dim.
Shock: The Professor barges into the room
Release: He demonstrates a problem.
Panic: The Professor holds a knife to Heather’s throat as Brad works on a problem.
Suspense: Brad gets stuck on the problem.
Fear: The Professor grabs the chalk away from Brad.
Horror: Brad lunges at The Professor.
Release: the Professor is thrown out the window.
INT- ROOM 313- EVENING
Brad and Heather are watching the monitor. Emily is standing in front of two guillotines, one labeled A and the other labeled B. Both have baskets under them to catch the head. Heather is sobbing.
Suddenly The Professor’s face pops into the screen.
THE PROFESSOR
Are you ready for the next question?
HEATHER
Please, no.
BRAD
No we’re not, sir.
THE PROFESSOR
Professor
BRAD
No we’re not, Professor.
THE PROFESSOR
That’s too bad, young man. I’m afraid it’s time for the next problem.
HEATHER
Please.
BRAD
Professor. I’ve been studying. really hard. There are just some things I don’t understand. Can we have a short review.
THE PROFESSOR
You’ve had plenty of time to learn this. you could have asked earlier.
BRAD
I know. But it would be really helpful if you could explain this.
The screen goes blank, and the lights in the room dim.
Brad and Heather are alone in the room. Brad is staring straight ahead, and Heather have her head on the desk and is quietly sobbing.
All of the sudden, The Professor barges into the room. Heather shrieks and starts sobbing more loudly.
THE PROFESSOR
Please be quiet. It’s time for your review.
Heather quiets down, and The Professor moves to the front of the room. he picks up a pice of chalk and walks to the board.
THE PROFESSOR
Okay, let’s start our review. (looks toward Heather) Can you tell me what a right triangle is?
HEATHER
No, I’m sorry, no.
BRAD
It’s a triangle with one right angle.
THE PROFESSOR
Correct. And how many degrees in a right angle?
BRAD
Ninety.
THE PROFESSOR
Correct again. Now we know that all the angles of a triangle add up to ninety degrees. So if we know the measure of one of the other angles, we can figure out the third.
The Professor draws a right angle on the board. He labels the right angle C, another one B, and the third one A.
Now, if B is a 32 degree angle, how many degrees are in C?
The Professor goes up to Brad and hands him the chalk. He holds a knife to Heather’s throat and takes off her handcuffs. He hands her the key.
THE PROFESSOR
Okay, you can walk with me and uncuff him. I’m sure he doesn’t want you to pay the consequences for any bad decisions he might make.
With the knife to her throat, The Professor moves Heather into a position to uncuff Brad. She uncuffs him, and The Professor pulls her to a safe distance from Brad. brad walks toward the board with the chalk and starts writing.
BRAD
Okay, B equals 32, and A pus B plus C equals 180.
He stares at the board.
So B is greater than A because C is…(his voice trails off)
180 pus 32 is, um
The Professor throws Heather to the ground and rushes toward Brad holding the knife.
THE PROFESSOR
No, no , no, you don’t add.
He picks up the chalk and starts to write. Brad ducks and rushes him, hitting him at the waist. The Professor stabs Brad in the should with the Knife, but Brad keeps pushing and pushes The Professor out the window. Glass breaks and the Professor screams.
Brad falls to the floor with the knife sticking out, and Heather runs toward him screaming. She get on her knees and starts sobbing.
BRAD
I’m okay. I’m okay. Just pull it out.
Heather pulls out the knife as Brad screams. She takes off her shirt and holds it to the wound to stop the bleeding. Brad stands up as she continues to apply pressure.
They look out the window and see The Professor lying still on the pavement below, face down.
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Bill Anderson’s Scary-As-Hell Scene
What I learned doing this assignment is that keeping a scene intact instead of intercutting it can make the internal tension more unbearable – make it more scary-as-hell
MOTHERLAND
A. From anxiety to dread
B. Anxiety – [Shock, fear, horror, shock, panic] – Dread
C:
Anxiety: As she walks through the wood Jack’s story of the killer roots becomes more believable.
Shock: A root comes for her exactly as Jack described!
Fear: Leah sees Michael’s body on the forest floor exactly as Jack described
Horror: Gross, decaying Michael
Shock: A tsunami of roots comes for her!
Panic: Leah is overpowered and knocked to the ground by the killer roots
Dread: She realises the killer roots are headed for her family back at the farmhouse
3.
Anxiety: As she walks through the wood Jack’s story of the killer roots becomes more believable.
Scare: something unseen is rustling the leaves and it’s getting closer
Shock: A root comes for her exactly as Jack described!
Release: It’s only cute squirrels fighting over a nut
Fear: she sees Michael’s body on the forest floor exactly as Jack described
Release: She sees that Michael is moving, breathing, still alive!
Horror: Decaying Michael
Shock: a tsunami of roots comes for her!
Panic: Leah is overpowered and knocked to the ground by the killer roots.
Release: But she’s not killed
Dread: She realises the killer roots are headed for her family back at the farmhouse
Context:
EXT – GNARLY TREE – EVENING
As Leah and the dog pass by, a fruiting body of the fungus emerges on the surface of the gnarly tree – at time-lapse speed – menacingly quick… we see the tree is becoming covered in fungus – voraciously consuming it from within… mycelial fibres are increasingly clothing the outside of the skeleton as if it were being wrapped by an embalmer…
Scripted scene:
EXT – WILD FOREST – EVENING
As the forest shimmers, hisses, creaks and groans with supernatural threat, even though Leah sees more and more of the fungus growing in the wood she becomes less convinced with every step that Jack was merely hallucinating.
She hears rustling in the leaves behind her: the dog starts to whimper – she turns – she can’t see where the rustling is coming from, but it’s getting louder, more vigorous….suddenly from behind a tree something shoots towards her under the leaves – exactly as Jack described! – Leah is frozen to the spot with fear, the dog whimpering uncontrollably, the commotion in the leaves powering towards them… just before it hits Leah and kills her two squirrels fighting over a juicy big nut spring out of their leafy cover – the dog barks, Leah sighs with relief – the squirrels are cute! – the victor scampers off with the nut, the loser looks at Leah as if to say “Do you have a nut for me? I thought not…” before sidling off to search elsewhere.
Leah and the dog carry on… but she sees something that stops her in her tracks: the body of Michael lying on the forest floor where we last saw him…
…Leah approaches Michael with great caution, but gets close enough to see that his chest is moving slightly – he’s breathing! Still alive! She rushes to Michael and turns his body over – we hear a release of pressure, Leah recoils from the smell of decomposition gasses – Michael’s body is horrifically consumed by fungus and penetrated by roots – hugely unnatural advanced decay – in a rhythmic movement, pockets of rotting gas build up, swelling the dead tissue and then burst out: like death is breathing – his body is already hollowed out by fungus and maggots which crawl out of his mouth – eel-like amphibian scavengers wriggle out of his eye sockets… Leah backs away, struggling to comprehend how this could have happened so quickly.
Leah senses the forest floor coming to life around her – beside Michael’s body the forest floor explodes in a tsunami of roots and leaves heading straight for Leah… as they hit her she’s thrown up into the air by the force of it, but when she lands she is not devoured – the roots are rushing past her – she can hardly believe it – but realises with dread that this dark energy is heading towards her family back at the farmhouse – Leah starts running back the way she came, following in the wake of the roots that are gathering in numbers and power…
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Hey, Bill.
Hang in there. You’re almost through.
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Begin Andre’s Scary-As-Hell Scene…
Use the Scary-As-Hell scene process to create the Horror Map.
o Start with a Horror Situation…
o Give a physical action that could cause each emotion.
Beginning Emotion- Anxiety. Entering turn style abortion clinic.
Apprehension- Avoidance and Rapid eye movement.
Shock- Look and feel of the environment. Cold. Sterile yet unclean. Think county hospital basement morgue.
Fear, Raised heartbeat.
Suspense- Fidgeting.
Dread- Solemn looking Nurse Practioner.
Trepidation- Sound of cut, snip, suction.
Doubt- the sales speech of “Abortion is a woman’s right. Your body, your choice. Abortion is between a woman, her doctor and the government (hush-hush but not the father)”.
Anguish- Avoidance of eyes of the girls before that were all smiles, but now feel the loss.
Panic- covered gurneys.
Fear- Blood.
Doubt -Crying.
Anger- It was just sex, I didn’t want to get pregnant.
Horror- the medical instruments including vacuum.
Hysteria, then…
Ending Emotion- Dismay- He’s not even here. “Where is your baby-daddy?”o Add in Scares and Releases.
Beginning Emotion- Anxiety. Entering turn style abortion clinic.
Scare- Getting an abortion.
Release- Soothing music, classical is it?
Release- Fresh cut Flowers. (symbolic of cutting and killing of life, but hey, they smell good. Double standard of the beauty of life and death-pretty smelling flowers that are dying).
Apprehension- Avoidance and Rapid eye movement.
Shock- Look and feel of the environment. Cold. Sterile yet unclean. Think county hospital basement morgue.
Release- Everything is going to be okay. We’re here to help you.
Fear, Raised heartbeat
Suspense- Fidgeting
Dread- Solemn looking Nurse Practioner.
Release- eye contact and a smile. A loving touch.
Trepidation- Sound of cut, snip, suction.
Release- Crying stops. Consoling of the experience, “Crying is normal”.
Doubt- the sales speech of “Abortion is a woman’s right. Your body, your choice. Abortion is between a woman, her doctor and the government (hush-hush but not the father)”.
Anguish- Avoidance of eyes of the girls before that were all smiles, but now feel the loss.
Panic- Gurneys covered with sheets.
Release- Just medical equipment beneath the sheets on the gurneys.
Fear- Blood.
Doubt -Crying.
Release- Passing out.
Anger- It was just sex, I didn’t want to get pregnant.
Horror- the medical instruments including vacuum.
and Hysteria, then…
Ending Emotion- Dismay- He’s not even here. Where is your baby-daddy?
Final Release- Your life is your own now, we have taken care of the problem.ACT 1 Inciting Incident. Tie with Dramatic Purpose. Isolated Horror Situations.
1.1. INT. TURNSTYLE ABORTION CLINIC -DAY
Plot 1, Story Journey
Atmosphere of Evil established – Denial… Character Reaction…
Turn style abortion clinic. Inside an urban building eerily similar to the white house, vacuum suction sounds of another abortion takes place.
Plot 2, Protagonist Journey
Does a man know spiritually when his baby is aborted? Is there a connection with a man and his child? Is a baby “her body”?
Plot 3, Antagonist Journey
“Abortion is between a woman, her doctor and the government (but not the father).”
Plot 4 Deeper Layer, Beneath the Surface.
The miscarriage of humanity continues, even when the plan b to contraception is the aborting of a fetus.Scene Arc: Tours of pregnant women (of twins and triplets and more) counted as 1; leaving without pregnancy.
Essence: The SOUNDS and SIGHTS of the Abortion process.
Conflict: My body, my choice. Abortion is between a woman, her doctor, and the government (hush hush, but not the father).
Subtext: Is abortion murder?
Hope/Fear: The hope is that abortions only affect the mother’s decision.Beginning: (Anticipation, Major Twist, Internal Dilemma, Uncomfortable Moment)
Pregnant females enter a turn style abortion clinic. Some pregnant with one, other pregnant with twins, a few pregnant with triplets. Most know they are pregnant, a few do not.Middle: (Anticipation, Major Twist, Uncomfortable Moment)
Many of the fathers of these babies are not present, either by choice or not. There is a slogan on the wall, “Abortion is between a mother, her doctor, and the government (hush-hush, but not the father).
The evil aspect of this is the portrayal of warfare, killing other men via killing their children. Men in warfare are despised for killing pregnant women, but what if you’re a doctor and you are “authorized” by government? Keep in mind, Same government authorizes was.Ending: (Anticipation, Major Twist)
They ALL depart without child. Something sidious and horrible has happened, and there is no going back.
What I am suggesting is a tactic of warfare, not healthcare to benefit the family, but blatant cruel intentional murder of another man’s seed, thus him. When the abortion clinic IS the battlefield.What I learned doing this assignment is…
a. If I am confused in any way, just go back to the beginning and do the process one step at a time. Each step will make it easier to do the next step. Once I have done this process a few times, I will see the magic in it.
b. Sequencing emotions this way can rapidly take an audience from complete calm to panic or terror in a single scene. Worth mastering!
This lesson I am going to design and write one of the three most important scenes in my script, and it will be a Scary-As-Hell Scene!
To do this, I will first create a “Horror Map” of the scene. Then I will write it. As I read through this lesson, keep thinking about which scene I will write.My choice will come from one of these areas of my outline:
• Opening Scene.
• End of Act 1.
• Midpoint.
• End of Act 2.
• Climax Scene.
My assignment will be to use this process to brainstorm a Horror Map of the scene.
SPECIAL NOTE ABOUT THE PROCESS: Most people create the action first, then the emotion. WE are actually going to be creating most of the scene through emotion first, then the Action.START WITH A HORROR SITUATION
a. IF I do not know what the horror situation is yet, refer to lesson 5 and brainstorm a cool situation that will be the frame for this scene.
My Characters might be isolated, pursued, tortured, tormented, paranoid, spooked, or deceived.b. I.e. example: Isolated/Pursued: The lovers are driving, unaware that there is a monster in the trunk that is clawing its way through the back seat.
SEQUENCE THE HORROR EMOTIONS
We worked with emotions during Lesson 10-12. For this scene, I want to identify the beginning emotion and the ending emotion, then fill in the emotions that go between them.What is the emotional range of this scene-beginning and ending?
This will be the “scene arc”.
o From Anxiety to Shock?
o From Suspense to Panic?
o From Dread to Hysteria?
o From Anxiety to Dismay!What emotions go in between the bottom and top emotion?
o Apprehension, Surprise, and Shock.
o Fear, Suspense, and Dread.
o Anguish, Panic, Horror, and Hysteria.What is the physical representation of each emotion?
Simply list the emotions in a sequence, then fill in a physical way that emotion can show up. Feel free to look back at how each emotion is created in Lessons 10-12.Post to forums.
End Andre’s Scary-As-Hell Scene.
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