Knowt
Note
Studied by 12 peopleNoteStudied by 34 peopleNoteStudied by 8631 peopleNoteStudied by 14 peopleNoteStudied by 9 peopleNoteStudied by 9 people
Les 5 & 6
Citizen Kane (1942)
Themes and Meaning
Biopic
Media Industry
Power
Historical facts
Family Matters
Poor vs. rich
If you want a happy ending that depends, of course, on where you stop your story. ~Orson Welles
A great storyworld is ever expanding like the universe itself!
Artistieke referenties
Squid Game en kunstwerken
Transmedia = Fan participation
For every single dark night there is a brighter day. ~Tupac Shakur
Netflix was dvd-rental bedrijf, stuurden dvd’s op via de post
Showrunners: hebben basisconcept en volgen dit mee op zodat het een geheel wordt, bewaren creatieve controle (Adil en Bilal)
De Dag
Script - part 1
De Dag TV series = ‘Universal theme, linked to a local story’! It’s a teamwork storyline, wrapped into a clever series for mainstream audiences.
Basic idea was telling a story from different POV (Point-Of-Views), so the concept/form was first, the content/story came afterwards
Genre = Belgian Noir - produced by Woestijnvis for Telenet & Vier
Lots of research done, both from books as talks with negotiators, to avoid cliché characters (like the super cop who can fix all cases), so the authenticity of the storyline/series would be maximized.
Lots of back-story was written for all +20 main characters, so when on set (as show runners!) they could easily adapt small changes during shooting
The ‘Tiger in the Room’ principle: the non-lineair / non-chronological story concentric circle structure set up (3 POV’s: hostages, police & criminals) eventually became the final concept of 1 POV / episode (inside or outside)
There was a deliberate choice of not using flashbacks, which seriously impacted the scripting of the whole 12 epsiodes of the series
The ‘camera follows character’ style was chosen early on (’Son of Saul’)
They wrote as duo: Julie wrote the ‘inside’ episodes, Jonas the ‘outside’ ones… for the overlapping parts, they worked together on the scripting
Small/big rewrites were necessary, as the breakdown showed they needed +230 shootingdays, when there were only 144 (12 per episode) foreseen.
Production
‘Money down the drain’ … the SFX (Special Effects Shots) of the money literally getting flushed away was the ideal sequence to explain how expensive such a (Flemish) high-qualitive TV series has become.
Planning was made on the basis of 12 shooting days per episode, with 2 directors filming mostly in parallel on 2 different settings, & was a logistical nightmare … they finally (with the re-shoots) filmed 167 days instead of the planned 144 days , to maintain the desired high-quality standard
They choose for a ‘Wet Down’ logic (since the setting is winter time) for continuity reasons, even though the filming itself was spread over 3 different seasons (autumn, winter, spring), with the main location (the square where the main actions happens) close to Bruges
Final budget was +8M €, financed via VAF (subsidy +- 35%), tax shelter (+- 30%), channel sales (Telenet & Vier - +- 25%) & extra foreign sales (ZDF neo)
Directing
2 directors worked closely together: Gilles Coulier (from “Bevergem” & “Cargo”) & Dries Vos (yes, the brother of Bram !)
There were 2 sets for most part of the shooting days, so people from the crew sometimes switched sets to be able to control their specific department
Casting was a serious challenge, as +20 characters needed to be chosen, mixing well-known film/TV/theatre actors with newcomers
With visual references they decided on (“The Killing” & “Southcliffe”), they started extensive preparation: table readings (cast reads the scripts, while crew was checking all elements), repetitions, checks for light/camera, …
Gilles did exteriors (mostly at night), Dries did interiors (mostly by day), closely following each other’s progress via data management tool called ‘'frame.io”
Music
Substantial soundscaping & scoring was done by trio of musicians, with main idea 'same bpm’ (Beats Per Minute) scheme for all episodes
Constant interaction in between phases of editing, based upon an initially composed track list, which was used as a basic agreed-upon musical theme
Usage of the “Shepard’s tone” technique: it’s a combination of different pitching waves but the same melody, creating an endless loop of an increasing or decreasing tone —> suspense creation!
Editing
5 versions: pre-cut (based on script), first cut (with director’s input), vision cut (check of main team), picture lock (final version, after test vision), re-shoot pic lock (reshoots)
Special check on chronology & overlaps (suspense building elements), taking into account the ‘show, don’t tell’ principle (implicit vs. explicit storytelling)
Post-production
Lots of ADR (Additional Dialogue Recording), as the sound on set can always be crappy/disturbed/not good enough … so actors record their lines again in audio studio to match the used take in the final version as to strengthen the emotional impact of each scene
ADR = Additional Dialogue Recording
→ opnames worden gedaan
→ bij vervelende neven geluiden, die niet verholpen kunnen worden, die in montage wel opvallen
→ acteurs gaan klank opnieuw inspreken op gemonteerde versie
Extensive foley (the addition of extra sounds) was needed, since it extends the suspense level of each scene & creates a more full experience for the audience
Color grading & all VFX (Visual Special Effects) … to finish the final version(s)
Release & distribution
Release was done at Berlinale Filmfestival (Febr. ’18), on Prime Telenet (March ’18) for a 9 month exclusive binge-watching window, then on Vier (open air channel) in a 2 episode-back-to-back viewing (within a 6 week window), early 2019
“The Day” was also released in Germany, France & Spain (in a dubbed version)
Storyworld
Boek
Spin-off
Teambuilding/escape room
games (The Park bvb)
Cases (niet uitgelegd → zie uitwerking kaartjes cases)
WTFock
Sihame El Kaouakibi
Disney
If you can dream it, you can do it. Always remember that this whole thing was started with a dream and a mouse. ~Walt Disney
Alyssa Carson
The smell of freshly printed book is the best smell in the world. ~Karl Lagerfeld
Holmes
Enola Holmes films zijn gebaseerd op een fanfiction waar het extra karakter Enola verzonnen is (door een fan dus)
All the movies are about strange worlds that you can’t go into unless you build them and film them. That’s what’s so important about film to me. I just like going into strange worlds. ~David Lynch
Dune
Ultraman
MARVEL
Red Hot Chili Peppers
Een fan heeft een auditie aangevraagd en werd nieuwe gitarist
Nieuwe storyworld gecreëerd
Veronica Mars
Een crowdfunded film als closure van de serie, vanuit fans
Star Wars droids
Sonic the Hedgehog
After (Hardinn Scott)
(Fresh Prince of) Bel-Air
A great storyworld is ever expanding like the universe itself!
Transmedia = Fan participation
The social network (2010)
Themes and meaning
The social network is cititzen kane for the contemporary era, using the margins of big business, greed, and betrayal as the touchstones of loneliness and isolation. It is the story of Faecbook’s founding and of the he-said, she-said murkienss over who should get credit for the most important innovation since the internet.
People don’t care about what someone says about you in a movie — or even what you say, right? They care about what you build. ~ Mark Zuckerberg
Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story. ~Henry Jenkins
7 myths of Transmedia Storytelling
Transmedia storytelling refers to any strategy involving more than one media platform
The entertainment industry has long developed licensed products, reproducing the same stories across multiple channels (for example, novelizations). Increasingly, broadcast content is also available on line. And many films are adopted from books (or now, comic books). None of these necessarily constitute transmedia storytelling. In transmedia, elements of a story are dispersed systematically across multiple media platforms, each making their own unique contribution to the whole. Each medium does what it does best–comics might provide back-story, games might allow you to explore the world, and the television series offers unfolding episodes.
Transmedia is basically a new promotional strategy
Yes, many early transmedia experiments were funded through marketing budgets. Transmedia has been closely linked to the industry’s new focus on “audience engagement” and sometimes uses “viral” (or “spreadable”) media strategies. But, the best transmedia is driven by a creative impulse. Transmedia allows gifted storytellers to expand their canvas and share more of their vision with their most dedicated fans.
Transmedia means games
The rise of alternate reality games coupled with mass media properties is part of what’s generating excitement here. Transmedia properties combine cultural attractors (which draw together a highly invested audience) and cultural activators (which gives that audience something to do). Games are a good way to give your fans something to do, but they are by no means the only model out there.
Transmedia is for geeks
So far, most of transmedia has been designed for early adapters–folks at home with digital applications, with disposable time and income, and especially the 18-27 year old males who have disappeared from the Nielsen Ratings. So far, much transmedia content has targeted children through cartoons or geeks through science fiction, horror, and fantasy franchises. But, there are plenty of signs that transmedia experiences may appeal more broadly. For example, some believe transmedia strategies may be key to the survival of soap operas.
Transmedia requires a large budget
Fans now expect transmedia content around blockbuster films and cult television series, but there are also many successes with using transmedia to build audience awareness around low budget and independent media productions–from The Blair Witch Project to District 9 to Paranormal Activity. It’s about developing the appropriate mix of media for the genre, the audience, and the budget of a particular production.
Everything should go transmedia
Many stories are told perfectly well within a single medium, and the audience leaves satisfied, ready for something else. Transmedia represents a strategy for telling stories where there is a particularly diverse set of characters, where the world is richly realized, and where there is a strong back-story or mythology that can extend beyond the specific episodes being depicted in the film or television series. Transmedia represents a creative opportunity, but it should never be a mandate for all entertainment.
Transmedia is “so ten minutes ago.”
The first generation series to push transmedia, (Lost, Heroes, Ghost Whisperer, and 24) ended last season, and some of attempts to replace them–from Flash Forward to The Event–failed. But many of the big hits–including Glee, True Blood, and The Walking Dead–model new transmedia strategies to attract and sustain audience engagement. Transmedia storytelling is still about the stories and if the stories do not capture the imagination, no amount of transmedia extension can repair the damage. But, we will see innovative new approaches because transmedia as a strategy responds to a media environment that rewards being everywhere your audience might be and giving your fans a chance to drill deeper into the stories they love.
Storyline analysis
Rebel
Storyline
Kamal resolves to change his life for the better, and so leaves Belgium to help victims of the war in Syria. But when he arrives, he is forced to join a militia and is left stranded in Raqqa. Back home, his younger brother Nassim quickly becomes easy prey for radical recruiters, who promise to reunite him with his brother. Their mother, Leila, fights to protect the only thing she has left: her youngest son.
Set-up
Act 1
Kamal, die opgroeit in de beruchte Belgische wijk Molenbeek wil zijn leven als drugshandelaar beteren en besluit om (inciting incident) oorlogsslachtoffers in Syrië te gaan helpen (plot point 1)
Confrontation
Act 2
Hij wordt echter al snel opgepakt en gedwongen om zich aan te sluiten bij een militie met als standplaats Raqqa. Zijn leven verandert in een nachtmerrie. Hij moet aanslagen die worden gepleegd, filmen (mid point). Als hij zelf in een video te zien is die viral gaat, heeft dit grote invloed op het leven van zijn familie in België. Zijn broertje Nassim is een gemakkelijke prooi voor ronselaars die beloven hem met zijn broer te herenigen, maar eigenlijk jonge strijders rekruteren (plot point 2)
Resolution
Act 3
Dit betekent dat hun moeder Leila niet alleen haar oudste, maar ook haar jongste zoon dreigt te verliezen. Ze zet alles op alles om hem terug te krijgen (climax)
Zillion
Storyline
ZILLION is een gefictionaliseerd portret van een zeer ambitieus en misnoegd mannetje dat zich wil bewijzen tegenover iedereen die hem de ‘Kleine van Meise’ noemde. Zoals Pront hem voorstelt is Frank Verstraeten (Jonas Vermeulen) een man met een gigantisch Napoleoncomplex die de kunst van het frauderen met de pap werd in gelepeld door zijn horrormoeder (Barbara Sarafian). Wanneer hij echter een verbond sluit met pornokoning Dennis Black Magic (Matteo Simoni) en andere figuren van bedenkelijk allooi, lijken de problemen elkaar snel op te volgen.
Zillion valt uiteen in twee delen. Het eerste voelt aan als een satire in de lijn van The wolf of Wall Street, het tweede gaat meer in de richting van een gangsterprent à la Goodfellas. De Scorsese-stijl was duidelijk een inspiratiebron voor Pront.
Het eerste deel is het leukste door de satirische toon, maar ook door de uitgelaten nineties-sfeer die Pront perfect weet te vatten. Tijdens het tweede deel wordt de toon donkerder en zit veel meer fictie. De blinde vlekken in het Zillion-verhaal worden door Pront opgevuld met veronderstellingen. Dat kan verwarring scheppen bij de toeschouwers die een film voorgeschoteld krijgen die een film voorgeschoteld krijgen die voor een groot deel de realiteit lijkt voor te stellen, maar in feite overwegend fictie is.
Set-up
It’s 1997. Frank Verstraeten, a computer genius with a nose for business, a fascination for nightlife and an unhealthy urge to prove himself only wants one thing (inciting incident): his own disco that not only outperforms the competition but simply humiliates it. (plot point 1)
Confrontation
The futuristic mega discotheque Zillion is a fact and Frank turns from computer dealer to the pivotal figure of the Antwerp nightlife. (mid point) He parades with the most beautiful women in Belgium and forges an alliance with Dennis Black Magic, the porn king who provides the spicy extras.
Resolution
Unfortunately, beautiful songs don’t last long either (plot point 2) Frank & Dennis go finally head to head, while the authorities are scanning the disco & it’s way-of- working thoroughly … (climax)
!! Door Covid een zwak filmaanbod zomer 2022
Zillion moest redding brengen
Taylor Swift: 2023 THE ERAS TOUR
Tour Movie (trend!!)
distributeurs wouden film na de tour uitbrengen, ondanks film tekort
dit wou Taylor niet, is zelf naar de theaterzalen gegaan, “cut out the middle man”, zelf geproduceerd (geen studio nodig voor promotie)
Ticketverkopers krijgen meerderheid als middleman
dynamic ticket pricing (verboden in Australië)
Manieren om story-structure te vormen
The 7 basic plots
Elements of Film Theory
12 common archetypes of characters
The Hero’s journey
Part 1 - Call to adventure
The ordinary world
In which we meet our Hero.
The journey has yet to start. Before our Hero discovers a strange new world, we must first understand the status quo: their ordinary, mundane reality.
It’s up to this opening leg to set the stage, introducing the Hero to readers. Importantly, it lets readers identify with the Hero as a “normal” person in a “normal” setting, before the journey begins.
The call to adventure
In which an adventure starts.
The call to adventure is all about booting the Hero out of their comfort zone. In this stage, they are generally confronted with a problem or challenge they can't ignore. This catalyst can take many forms, as Campbell points out in Hero with a Thousand Faces. The Hero can, for instance:
Decide to go forth of their own volition;
Theseus upon arriving in Athens.
Be sent abroad by a benign or malignant agent;
Odysseus setting off on his ship in The Odyssey.
Stumble upon the adventure as a result of a mere blunder;
Dorothy when she’s swept up in a tornado in The Wizard of Oz.
Be casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man.
Elliot in E.T. upon discovering a lost alien in the tool shed.
The stakes of the adventure and the Hero's goals become clear. The only question: will he rise to the challenge?
Refusal of the call
In which the Hero digs in their feet.
Great, so the Hero’s received their summons. Now they’re all set to be whisked off to defeat evil, right?
Not so fast. The Hero might first refuse the call to action. It’s risky and there are perils — like spiders, trolls, or perhaps a creepy uncle waiting back at Pride Rock. It’s enough to give anyone pause.
In Star Wars, for instance, Luke Skywalker initially refuses to join Obi-Wan on his mission to rescue the princess. It’s only when he discovers that his aunt and uncle have been killed by stormtroopers that he changes his mind.
Part 2 - Supreme Ordeal/Initiation
Meeting the Mentor
In which the Hero acquires a personal trainer.
The Hero's decided to go on the adventure — but they’re not ready to spread their wings yet. They're much too inexperienced at this point and we don't want them to do a fabulous belly-flop off the cliff.
Enter the mentor: someone who helps the Hero, so that they don't make a total fool of themselves (or get themselves killed). The mentor provides practical training, profound wisdom, a kick up the posterior, or something abstract like grit and self-confidence.
Wise old wizards seem to like being mentors. But mentors take many forms, from witches to hermits and suburban karate instructors. They might literally give weapons to prepare for the trials ahead, like Q in the James Bond series. Or perhaps the mentor is an object, such as a map. In all cases, they prepare the Hero for the next step.
Crossing the First Threshold
In which the Hero enters the other world in earnest.
Now the Hero is ready — and committed — to the journey. This marks the end of the Departure stage and is when the adventure really kicks into the next gear. As Vogler writes: “This is the moment that the balloon goes up, the ship sails, the romance begins, the wagon gets rolling.”
From this point on, there’s no turning back.
Like our Hero, you should think of this stage as a checkpoint for your story. Pause and re-assess your bearings before you continue into unfamiliar territory. Have you:
Launched the central conflict?
Established the theme of your book?
Made headway into your character development?
Tests, Allies, Enemies
In which the Hero faces new challenges and gets a squad.
When we step into the Special World, we notice a definite shift. The Hero might be discombobulated by this unfamiliar reality and its new rules. This is generally one of the longest stages in the story, as our protagonist gets to grips with this new world.
This makes a prime hunting ground for the series of tests to pass! Luckily, there are many ways for the Hero to get into trouble:
In Jumanji: Welcome to the Jungle, Spencer, Bethany, “Fridge,” and Martha get off to a bad start when they bump into a herd of bloodthirsty hippos.
In his first few months at Hogwarts, Harry Potter manages to fight a troll, almost fall from a broomstick and die, and get horribly lost in the Forbidden Forest.
Marlin and Dory encounter three “reformed” sharks, get shocked by jellyfish, and are swallowed by a blue whale en route to finding Nemo.
This stage often expands the cast of characters. Once the protagonist is in the Special World, he will meet allies and enemies — or foes that turn out to be friends and vice versa. He will learn a new set of rules from them. Saloons and seedy bars are popular places for these transactions, as Vogler points out (so long as the Hero survives them).
Part 3 - Unification/Transforamation
Approach tot the Inmost Cave
In which the Hero gets closer to his goal.
This isn’t a physical cave. Instead, the “inmost cave” refers to the most dangerous spot in the other realm — whether that’s the villain’s chambers, the lair of the fearsome dragon, or the Death Star. Almost always, it is where the ultimate goal of the quest is located.
Note that the protagonist hasn’t entered the Inmost Cave just yet. This stage is all about the approach to it. It covers all the prep work that's needed in order to defeat the villain.
Ordeal
In which the Hero faces his biggest test of all thus far.
Of all the tests the Hero has faced, none have made them hit rock bottom — until now. Vogler describes this phase as a “black moment.” Campbell refers to it as the “belly of the whale.” Both indicate some grim news for the Hero.
The protagonist must now confront their greatest fear. If they survive it, they will emerge transformed. This is a critical moment in the story, as Vogler explains that it will “inform every decision that the Hero makes from this point forward.”
The Ordeal is sometimes not the climax of the story. There’s more to come. But you can think of it as the main event of the second act — the one in which the Hero actually earns the title of “Hero.”
Reward (Seizing the Sword)
In which the Hero sees light at the end of the tunnel.
Our Hero’s been through a lot. However, the fruits of their labor are now at hand — if they can just reach out and grab them! The “reward” is the object or knowledge the Hero has fought throughout the entire journey to hold.
Once the protagonist has it in their possession, it generally has greater ramifications for the story. Vogler offers a few examples of it in action:
Luke rescues Princess Leia and captures the plans of the Death Star — keys to defeating Darth Vader.
Dorothy escapes from the Wicked Witch’s castle with the broomstick and the ruby slippers — keys to getting back home.
Part 4 - Road Back / Hero’s return
The Road Back
In which the light at the end of the tunnel might be a little further than the Hero thought.
The story's not over just yet, as this phase marks the beginning of Act Three. Now that he's seized the reward, the Hero tries to return to the Ordinary World, but more dangers (inconveniently) arise on the road back from the Inmost Cave.
More precisely, the Hero must deal with the consequences and aftermath of the previous act: the dragon, enraged by the Hero who’s just stolen a treasure from under his nose, starts the hunt. Or perhaps the opposing army gathers to pursue the Hero across a crowded battlefield. All further obstacles for the Hero, who must face them down before they can return home.
Resurrection
In which the last test is met.
Here is the true climax of the story. Everything that happened prior to this stage culminates in a crowning test for the Hero, as the Dark Side gets one last chance to triumph over the Hero.
Vogler refers to this as a “final exam” for the Hero — they must be “tested once more to see if they have really learned the lessons of the Ordeal.” It’s in this Final Battle that the protagonist goes through one more “resurrection.” As a result, this is where you’ll get most of your miraculous near-death escapes, à la James Bond's dashing deliverances. If the Hero survives, they can start looking forward to a sweet ending.
Return with the Elixir
In which our Hero has a triumphant homecoming.
Finally, the Hero gets to return home. However, they go back a different person than when they started out: they’ve grown and matured as a result of the journey they’ve taken.
But we’ve got to see them bring home the bacon, right? That’s why the protagonist must return with the “Elixir,” or the prize won during the journey, whether that’s an object or knowledge and insight gained.
Of course, it’s possible for a story to end on an Elixir-less note — but then the Hero would be doomed to repeat the entire adventure.
Hero’s journey moet niet positief eindigen
-> maakt iets mee, krijgt hulp, beslissing om leven anders aan te pakken, slaagt wel of niet.
The Hero’s Journey - The Hobit
The Ordinary World
Bilbo Baggins, a very well-to-do hobbit of Bag End, sits outside his front porch. He smokes a wooden pipe, as usual.
Call to Adventure
Gandalf arrives and tells him that he’s looking for someone to share in an adventure that he’s arranging.
Refusal of the Call
Bilbo turns down the overture but makes the mistake of inviting Gandalf for tea the next day - unwittingly putting himself in the path of the journey.
Meeting the Mentor
Gandalf comes to tea with a gang of dwarves. They sing an ancient song of the treasure in the Lonely Mountain, making Bilbo dream of adventure.
Crossing the First Threshold
Bilbo packs his bags and leaves Hobbiton behind, crossing the threshold into the Special World.
Tests, Allies, Enemies
Bilbo faces trolls, bloodthirsty spiders, unfriendly Wood Elves, and a Gollum - but he befriends elves from Rivendell and the bear-man, Beorn
Approach to the Inmost Cave
The dwarves and Bilbo get closer to the Inmost Cave: the Lonely Mountain in which Thorin’s treasure lies.
Ordeal
Up goes Bilbo to face Smaug, the dragon who jealously guards the gold within the Lonely Mountain.
Reward!
Smaug dies and the dwarves gain control of the Lonely Mountain once more - and all its treasure
The Road Back
Bilbo gets caught up in the conflict between the dwarves and the Lake Men, who demand compensation for their aid in the fight against Smaug. Thorin refuses
Ressurection
The Battle of the Five Armies breaks out and Bilbo loses consciousness
Return with the Elixir
Bilbo returns home to Hobbiton with his share of the treasure and a lot of wisdom gained.
The Hero’s Journey in 6 popular movies (zie kaartjes films)
There’s that old adage about how there’s only seven plots in the world and Shakespeare’s done them all before. ~ Terri Windling
The 7 basic plots
How to Use One of the Story Plots
Like in any other storyelling scenario, a content writing story has a main character. in content writing, that character is a beneficiary of your nonprofit, a satisfied customer or a target reader.
Think about the stories you write for blog posts, web pages, newsletter articles, and other content writing
→ Your character faces a problem or setback
→ Your character uses your product, service, or answer to face his problem.
→ Your character demonstrates a transformation or a change as a result.
1. Overcoming the Monster
The main character faces an obstacle, but by using your product or service is able to overcome the obstacle.
Think Star Wars or David and Goliath
Star Wars & Jaws
→ Story Writing Tip: use this story format when your product, service, or answer directly helps the main character overcome the obstacle.
2. Rags to Riches
The character faces insignificance, irrelevance of invalidation but uses your product, service, or answer to find significance or even exceptionalism.
Think Cinderella, Aladdin & Zillion
→ Story Writing Tip: use this story format when your product, service, or answer helps the main character find significance
3. The Quest
The character faces a journey to achieve a goal. Your product, service, or answer helps her make progress or helps her once she reaches her destination.
Think The Wizard of Oz or Harry Potter & Lord of The Rings
→ Story Writing Tip: use this story format when your product, service, or answer helps your protagonist reach her journey’s destination
4. Voyage and Return
The character faces a journey into a different environment and returns wiser. Your product, service, or answer helps her gain experience or grow in the process
Think Goldilocks or Finding Nemo, Rebel & The Wizard of Oz
→ Story Writing Tip: use this story format when your product or service plays a key part of the character’s growth in the journey and return.
5. Comedy
The character faces a series of errors, events, or activities leading to a culminating happy conclusion
Think Much Ado About Nothing, Tom Sawyer & Dumb and Dumber
→ Story Writing Tip: use this story format when your product, service, or answer plays a part in helping the character work through the chaos.
6. Tragedy
The character’s flaw or mistake can lead to his undoing
Think Macbeth, Requiem of a Dream or Breaking Bad
→ Story Writing Tip: use this story format to present your product, service, or answer as the alternative to the character’s downfall.
7. Rebirth or Redemption
The character has an experience that causes her to change her ways, which she does by using your product, service, or answer.
Think It’s a Wonderful Life, Beauty and the Beast, A Christmas Carol & Groundhog Day
→ Story Writing Tip: use this story format when your product, service, or answer helps the character make an about-face or is part of the redemptive process.
We all have the same instinctive and unconscious understanding of behavioural patterns. ~ Carl Jung
12 common archetypal characters & how to use them in stories
You can talk film theory till you’re blue in the face, but in the end, the thing that may haunt you most about a movie is a pair of eyes. ~Stephanie Zacharek
3 bigger categories of 4 types
Ego
Self
Soul
The archetypes
The innocent
Motto:
Free to be you and me
Core desire:
to get to paradise
Goal:
to be happy
Greatest fear:
to be punished for doing something bad or wrong
Strategy:
to do things right
Weakness:
boring for all their naive innocence
Talent:
faith and optimism
The innocent is also known as:
Utopian, traditionalist, naive, mystic, saint, romantic, dreamer.
The Everyman
Motto:
All men and women are crested equal
Core desire:
connecting with others
Goal:
to belong
Greatest fear:
to be left out or to stand out from the crowd
Strategy:
develop ordinary solid virtues, be down to earth, the common touch
Weakness:
losing one’s own self in an effort to blend in or for the sake of superficial relationships
Talent:
realism, empathy, lack of prefense
The Everyman is also known as:
The good old boy, regular guy/girl, the person next door, the realist, the working stiff, the solid citizen, the good neighbor, the silent majority
The Hero
Motto:
Where there’s a will, there’s a way
Core desire:
To prove one’s worth through courageous acts
Goal:
Expert mastery in a way that improves the world
Greatest fear:
Weakness, vulnerability, being a “chicken”
Strategy:
To be as strong and competent as possible
Weakness
Arrogance, always needing another battle to fight.
Talent
Competence and courage
The Hero is also known as:
The warrior, crusader, rescuer, superhero, the soldier, dragon slayer, the winner and the team player
The Caregiver (Rebel)
Motto:
Love your neighbour as yourself
Core desire:
To protect and care for others
Goal:
To help others
Greatest fear:
Selfishness and ingratitude
Strategy:
Doing things for others
Weakness:
Martyrdom and being exploited
Talent:
Compassion, generosity
The Caregiver is als known as:
The saint, altruist, parent, helper, supporter
The Explorer
Motto:
Don’t fence me in
Core desire:
The freedom to find out who you are through exploring the world
Goal:
To experience a better, more authentic, more fulfilling life
Biggest fear:
Getting trapped, conformity, and inner emptiness
Strategy:
Journey, seeking out and experiencing new things, escape from boredom
Weakness:
Aimless wandering, becoming a misfit
Talent:
Autonomy, ambition, being true to one’s soul
The Explorer is also known as:
The seeker, iconoclast, wanderer, individualist, pilgrim
The Rebel
Motto:
Rules are made to be broken
Core desire:
revenge or revolution
Goal:
To overturn what isn’t working
Greatest fear:
To be powerless or ineffectual
Strategy:
disrupt, destroy, or shock
Weakness:
Crossing over to the dark side, crime
Talent:
Outrageousness, radical freedom
The Rebel is also known as:
The outlaw, revolutionary, wild man, the misfit, or iconoclast
The Lover
Motto:
You’re the only one
Core desire:
Intimacy and experience
Goal:
Being in a relationship with the people, work and surroundings they love
Greatest fear:
Being alone, a wallflower, unwanted, unloved
Strategy:
To become more and more physically and emotionally attractive
Weakness:
Outward-directed desire to please others at risk of losing own identity
Talent:
Passion, grattitude, appreciation, and commitment
The Lover is also known as:
The partner, friend, intimate, enthusiast, sensualist, spouse, team-builder
The Creator
Motto:
If you can imagine it, it can be done
Core desire:
To create things of enduring value
Goal:
To realize a vision
Greatest fear:
Mediocre vision or execution
Strategy:
Develop artistic control and skill
Task:
To create culture, express own vision
Weakness:
Perfectionism, bad solutions
Talent:
Creativity and imagination
The Creator is alsp known as:
The artist, inventor, innovator, musician, writer or dreamer
The Jester
Motto:
You only live once
Core desire:
To live in the moment with full enjoyment
Goal:
To have a great time and lighten up the world
Greatest fear:
Being boring or boring others
Strategy:
Play, make jokes, be funny
Weakness:
Frivolity, wasting time
Talent:
Joy
The Jester is also known as:
The fool, trickster, joker, practical joker or comedian
The Sage
Motto:
The truth will set you free
Core desire:
To find the truth
Goal:
To use inteligence and analysis to understand the world
Greatest fear:
Being duped, misled - or ignorence
Strategy:
Seeking out information and knowledge; self-reflection and understanding thought processes
Weakness:
Can study details forever and never act
Talent:
Wisdom, intelligence
The Sage is also known as:
The expert, scholar, detective, advisor, thinker, philosopher, academic, researcher, thinker, planner, professional, mentor, teacher, contemplative
The Magician (Zillion)
Motto:
I make things happen
Core desire:
Undertanding the fundamental laws of the universe
Goal:
To make dreams come true
Greatest fear:
Unintended negative consequences
Strategy:
Develop a vision and live by it
Weakness:
Becoming manipulative
Talent:
Finding win-win solutions
The Magician is also known as:
The visionary, catalyst, inventor, charismatic leader, shaman, healer, medicine man
The Ruler
Motto:
Power isn’t everything, it’s the only thing
Core desire:
Control
Goal:
Create a prosperou, succesful family or community
Strategy:
Exercise power
Greatest fear:
Chaos, being overthrown
Weakness:
Being authoritarian, unable to delegate
Talent:
Responsibility, leadership
The Ruler is also knwon as:
The boss, leader, aristocrat, king, queen, politician, rolemodel, manager or administrator
Elements of film theory
Types of film
Realism
Nonprofessional actors (with exceptions)
No special effects
On location sets and props
Minimal editing
Natural lighting
Documentary-style
Classical
Professional actors
Minimal or no special effects
On location or in studio
Editing used for time-lapse
Lighting and sound used to create a mood
Formalism
Professional actors
Relies heavily on special effects
Editing speeds up or slows down time
Lighting and sound create exaggerations
Breaks the illusion of reality
Shots
Extreme Close-Up (ECU)
Close-Up (CU)
Medium Shot (MS)
Full Shot (FS)
Long Shot or Wide Shot (LS)
Extreme Long Shot (ELS)
Deep Focus
American Focus
Over The Shoulder (OTS)
POV shot
Angles
Eye Level
High Angle
Low Angle
Oblique Angle
Lighting
High Key Lighting
Low Key Lighting
Chiaroscuro Lighting
Silhouette/Black Lighting
Color
Saturated
Conveys
Happiness
Fantasies
Romance
Or some idyllic scenery
De-Saturated
Conveys
The past
Struggle
Depression
Or some other dystopian scenery
Sound
Diegetic
Voices of characters
The sound made by props
Music coming from instruments in film
Non-Diegetic
Narrator’s commentary
Sound effects added for dramatic effect
Mood music
Editing
Continuity
Classical
Radical Subjective Continuity
Thematic
Associative
Dialectic
Mis-en-scene
Placement around frame
Face to camera
Territorial space
Frame constraints
Storytelling tools
elevator pitch & TV bible
Beat sheet / shooting script
moodboard / storyboard
pitches, flyers & posters
teasers vs. trailers (teaser is een klein stukje (kunnen ook aparte beelden zijn die nooit in film zitten en enkel sfeer aangeven), trailer is allesomvattend)
floorplan (rekening houdend met 180°-regel)
call sheet
shot-/loglist (shotlist op voorhand, loglist is wat je effectief hebt opgenomen (heel belangrijk voor monteur, goede en slechte takes)
budget & financing
Transmedia storytelling: media kanalen gebruiken om allemaal aparte dingen te vertellen
NoteStudied by 12 peopleNoteStudied by 34 peopleNoteStudied by 8631 peopleNoteStudied by 14 peopleNoteStudied by 9 peopleNoteStudied by 9 people