[Anis Taylor]

Hi! It won’t let us access the video for the assignment. It says, Video unavailable.

[Anis Taylor]

This scene is great because it reveals the information without any dialogue. Right out of page of the good ole silent film days, when acting and environment had to tell a story.

The nine visual reveal that lead us to more question are:

1. Pants flying from the sky
2. Van speeding down out of control in the middle of an extremely hot desert
3. Man driving van in a face mask in his underwear
4. Someone in the passenger seat dead
5. Glasses breaking and liquid spilling in the back of the van
6. More people in the back dead
7. Car crashes and the driver lives
8. Why does he need a gun
9. The camera

There is a lot that I learned to create in my script by telling the story without saying words and instead drop clues that will make sense as the story moves forward.

• This reply was modified 2 years ago by  Anis Taylor.

[Anis Taylor]

Their couldn’t have been a better example of going to the extreme in a gross way. Watching the scene one time was enough to make the point of extreme, and I guess that’s when you do a good job.

The bridesmaid enter a beautiful pristine wedding dress store. The set up of a beautiful place that has no business being destroyed was a great way to start normal. From the normality, we enter our conflict. Two bridesmaid competing for the brides favor. This scene moves the story forward by creating conflict in a way that escalates to the extreme.

The extreme can be written in many ways, from gruesome blood and killing, to throwing up and shitting in a bridesmaid dress, to shitting in the street in a wedding dress.

I learned by using your environment to set up the impact of the extreme. So if it’s a clean room, we know we can get messy.

• This reply was modified 2 years ago by  Anis Taylor.

[Anis Taylor]

I really enjoyed this scene. I found it as a good comparison to the Dark Knight scene that took place in and interrogation room. I found that the Matrix had twists in a more structured deliberate way.

The first twists happens when Mr. Anderson is in the interrogation room and antagonists comes in as the bad cop, then switches to the good cop, to only revert back to the bad cop.

Mr. Anderson provides a twist by listening to the antagonist then replying with a bird, and demanding his right to a phone call. Once we see the middle finger the rule of karma comes into play which allows the antagonist to torture Mr. Anderson. This scene would have been completely different had it opened up with the antagonist putting a scorpion in Mr. Anderson. Instead the scene was able to stretch a little creating twist for our protagonist, by eventually having his mouth closed.

I learned in this scene how to create twists in a unique way by writing the scene in 3. Bad scenario, good scenario, then very bad scenario. It gives the twist a rhythm.

[Anis Taylor]

Building suspense is one of the best thing about this scene. We the audience know that eventually the shark, or the captain has to win. In the script we feel like we’re finally going to get to that moment. The captain and his friends are on the boat trying to capture the shark. The suspense of the shark heading towards the boat leaving a clear shot for the captain, but he can’t make the shot because it takes his friend a second too late to tie the barrel. Instead the captain shoots the shark in the fin, and now the suspense prolongs as everyone waits to see Jaws again.

[Anis Taylor]

The Protag/Antag scene in The Dark Knight was powerful and old school detective writing. I noticed it’s like having a hot potato in each of their hands and bounce off conflict in each bounce.

For example, Batman comes in as the light turns on which is a cool entrance. He then slams the joker head to the table. This kicks off the conflict. The conflict then progresses from verbal to physical, all the way until Batman gets what he wants. But like in all good writing there’s a plot twist. He can only save one.

In my rewrite, I will create physical, verbal, and mental conflict between my Protag/Antag right from the start. Climaxing it to a resolution, then ending with a plot twist.

[Anis Taylor]

Watching Peter Parker learn about his superpowers was a great way to learn character reveal. When Peter first sits down he notices the fork stuck to the palm of his hands, before he knows it cobwebs have shot out his wrist and has attached itself to a lunch tray. It’s fun to create a way that both the audience and the character can learn about their special abilities at the same time.

Usually we are introduced to characters who already know their strengths and super power and it’s us the audience who is just learning. Spider Man was fun because both the audience and Peter Parker learned about themselves at the same time.

[Anis Taylor]

Character Subtext #1 is what my script is about. How can I show the audience that there is more beneath the surface to the movie they are watching. If this can be mastered in a suspenseful way then you can have your audience at the edge of their seats guessing.

Chris begins to feel uncomfortable in his different conversations which where introductions. The way the guests spoke to him upon first meeting them, allowed him to know that there is something strange going on.

Looking at how Character subtext was shown in Get Out, it made me rethink of the way to showcase subtext in my script.

[Anis Taylor]

I learned that you can create an interesting scenario through the characterization of your characters in When Harry Met Sally.

What I plan on doing is taking boring and bland locations into fun scenes pushing the dialogue and interactions to the edge.

[Anis Taylor]

It was interesting learning about the characterization scene in when Harry met Sally. I learned a lot about Sally from the diner scene that was expressed in a really fun, funny, and creative way. Without knowing much about Sally, I know she’s bold, honest, and knows more about Harry than he knows. Without knowing much about Harry, I know he’s confident, smooth, and has a thing for Sally.

There’s so many diner scenes in the history of filmmaking, and this one brought a whole new element that made the movie fun in which the characterization is what brought it to life.

• This reply was modified 2 years ago by  Anis Taylor.
• This reply was modified 2 years ago by  Anis Taylor.

[Anis Taylor]

What I learned from this assignment is to show who your character is without saying a word. With watching this scene, I thought of rewriting my intro to my main character in a way that will showcase who he will be throughout the movie and what makes him special.

[Anis Taylor]

Jack enters the scene in shock. He absorbs his entire environment, and then jumps into action. As someone who has never watched, Lost, I can tell you that from Jacks intro he is a leader, must have medical experience, and is determined to save lives. In a dire situation like a plane crash there will be watchers and doers, and many who will die. Jack is one that will do what he can to help.

Watching this scene gave me good insight in how I can introduce my character by showing not telling.

[Anis Taylor]

What I learned rewriting my scene is how to create a plot twist ending that provides a full resolution. It is not easy to do, but having a strong opening will lead to a powerful ending.

I had created a previous ending for my script, but watching todays ending made me restructure my scene. I also went back to my opening, and midpoint to add nuggets to make the end make more sense. And also to make the viewer/reader do a double take to other parts of the script which will make the end make more sense and satisfying.

[Anis Taylor]

I chose Se7en because of the climatic ending.

It starts with the detective opening the box, which is always a good insert because boxes are full of surprises. Morgan Freeman opens the box and is aware of something that his partner is not aware of. The point of the box was to trigger Brad Pitt. The dialogue in the resolution is very straight and direct and covers all the main points that brings the movie to a resolution.

Whether the audience likes the resolution of not is a different story. But the resolution is straight and direct. The prisoner murdered the detectives wife which is the completion of his goal of accomplishing the seven deadly scene.

When I think of the resolution to my script, I think of completion in a way that provides a climatic plot twist, or full resolution that the audience could see coming.

I prefer to write in a way that the audience does not see coming, and watching se7en is a great example of a resolution to the story. I think the Unusual Suspect is also a good example of a good resolution/ending as well.

[Anis Taylor]

I learned a lot today rewriting my scene. Today I was able to create an all hope is lost moment, a rise of the Phoenix moment, a change of power moment, and a set up and payoff moment at the end all with dialogue in one space without having to have any physical action.

[Anis Taylor]

I chose “A Few Good Men”

The third act climax in the case of this script is powerful compared to 310 To Yuma, because it was all dialogue. No guns blazing, just the bread crumbs for our mind to picture the most grotesque way a Colonel can order a hit on a weak soldier.

The scene starts off with the lawyer stuck in his thoughts. It seems that he is down and out, so much so that the colonel gets up and walks out. It seems that all hope is lost for the lawyer. Even his colleague mouths to him stop.

Out of nowhere it seems that the lawyer digs deep inside and tells the colonel to sit down. The dialogue at this moment is witty. The colonel tells the judge to have his lawyer address him as colonel. He even comments on the judges court room. This is returned by the judge reminding the colonel to address him as your honor.

This is setting up the court room as a place of order. From that point on it the power was transferred from the colonel back to the court room and the lawyer.

The scene ends with powerful dialogue setting up the Colonel to explain why he does what he does. This allows the audience to emphatize with the Colonel. He explains why it’s important for him to protect the wall, why the hot shot officers enjoy DC.

The scene is great all the way through until the iconic “you can’t handle the truth moment!”

[Anis Taylor]

I learned in rewriting my scene to be very creative with my turning points in each act. Create a situation where it has drama that will push our protagonist to a point where there is no turning back. Since my script is a suspense, it was improtant for me to build the suspense before setting my Protagonist in a turning point situation where there is no “going back”.

[Anis Taylor]

I watched each scene and looked deep into what made the scenes great. The key to what I was looking for was how to create a circumstance that would set our protagonist on a journey where there is no turning back.

In Get Out Act 1 TP – The Mom catches Chris walking in the house after smoking a cigaret. This action causes a natural reason for Chris to sit down in the couch to listen to his girlfriends Mom. In this scene the Mom, slowly hypnotizes Chris in front of his eyes, when he is thinking that Hypnosis works with a pocket watch. From there she sends him to a sunken place. When this turning point happens there is no going back physically because Chris body has fallen to a sunken place. It also is a turning point at the end of Act 1 because now Chris is aware that there is something strange going on.

[Anis Taylor]

Today I learned how to stretch a scene to really pull the suspense when creating an inciting incident. When I originally wrote my inciting incident in my screenplay I created a very bland situation to lead my main character on his journey. There was nothing deep at stake to really up the ante when leading our story.

After our assignment I was able to rewrite my scene with specific intent to present a very challenging situation, then create interesting action with intriguing dialogue, and finally showcase what is inside my main character that needs him to go on his journey.

[Anis Taylor]

As I watched this scene the thing that stood out to me is, how to create an inciting incident based of dialogue and a situation of high stakes. There is no action in the scene, but the fact that a boys life is on the line based of these 12 mens decision is captivating. It presents us with all the key ingredients to present the inciting incident which takes our main character on a journey.

Is he either going to remain steadfast in his way, or will there be a character change. Will the other 11 jurors remain steadfast, or will they change on their own journey. This is the main objective when going on his journey from Act 1 to Act 3. It is t<font face=”inherit”>o create an Inciting Incident that propels us onto this journey and to </font>stretch<font face=”inherit”> it long enough until it is resolved in the final act.</font>

[Anis Taylor]

Hi Everyone!

My name is Anis Taylor, I am a writer and producer. When I am not working for others as a work for hire screenwriter, I produce content for my streaming platform, HigherThan7.com

I have written over a dozen scripts, from short films, to web series, to my first feature film which will be released in July on APEX.

I am hoping to use this class to improve my latest story. A suspense, action thriller.

Something unique about me is that I don’t get upset, and have a high amount of patience when working through very difficult and stressful situations. Rewriting a script more than a dozen times in a week is an example of my patience. I’m sure a lot of you can relate to this.

Looking forward to learning a lot in this class, and meeting you all!

[Anis Taylor]

Anis Taylor

“I agree to the terms of this agreement”.

GROUP RELEASE FORM

As a member of this group, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

[Anis Taylor]

What I learned by watching this scene is how to build suspense in a creative way, while driving the story forward with the least amount of dialogue to give the viewer the most amount of information to drive the scene.

Watching this scene multiple times has allowed me to rethink my opening scene in a lot of different ways. What is my setup to my scene to introduce my antagonist? What is the world he operates in? And what is at stake?

In my script my antagonist is a Human and a Computer, so how do I showcase the evil in both without saying much words. And when I do use words, what is the dialogue used to drive the story forward creatively and without exposition.

Ultimately, I learned how to keep the audience guessing and putting one on the edge of their seat.

[Anis Taylor]

The scene starts great because we as the audience are thrown into a guessing game from the beginning as we wonder the identity behind the robbers and their mask. This sets the tone especially when the Joker is waiting with his mask in his hand to get in the car.

Next, I noticed the element of karma taking place within the scene. The two robbers in the front of the car are talking about the Joker without realizing the Joker is sitting in the back seat. Which by the way is who planned the robbery. The dialogue in the car drives the story forward by giving us an insight into the robbers involved. It all adds up in the end of the scene once the quiet robber is revealed.

Next, is the part of the robbers on the roof who give us more insight into how big of a robbery this is when one robber mentions there wasn’t even a call to 911, instead it was to a private number. This gives two insights to the scene. One it explains why the cops are not at the bank right away since they haven’t been notified immediately, and two, the robbers are messing with a force more serious than the police. This drive the stakes up.

As the robbery is happening, we start losing all the unnecessary robbers one by one. Their only purpose is to commit the robbery and then be eliminated. Leaving only one robber, who we find out is the Joker at the end.

This is a brilliant way to set up the scene. We have one robber leading the scene with his dialogue. This gives us the impression that he is the lead robber, The Joker. He remains alive all the way until the end of the robbery when he is finally killed by a bus.

• This reply was modified 2 years ago by  Anis Taylor.
• This reply was modified 2 years ago by  Anis Taylor.
• This reply was modified 2 years ago by  Anis Taylor.