Zusatztext Screenplay is one of the bibles of the film trade and has launched many a would-be screenwriter on the road to Hollywood. Library Journal Syd Field is the preeminent analyzer in the study of American screenplays. James L. Brooks! AcademyAwardwinning writer! director! producer Informationen zum Autor Syd Field Klappentext Hollywood's script guru teaches you how to write a screenplay in the 'bible' of screenwriting ( The New York Times )now celebrating over forty years of screenwriting success! Syd Field's books on the essential structure of emotionally satisfying screenplays have ignited lucrative careers in film and television since 1979. In this revised edition of his premiere guide, the underpinnings of successful onscreen narratives are revealed in clear and encouraging language that will remain wise and practical as long as audiences watch stories unfold visuallyfrom hand-held devices to IMAX to virtual reality . . . and whatever comes next. As the first person to articulate common structural elements unique to successful movies, celebrated producer, lecturer, teacher and bestselling author Syd Field has gifted us a classic text. From concept to character, from opening scene to finished script, here are fundamental guidelines to help all screenwritersnovices and Oscar-winnershone their craft and sell their work. In Screenplay , Syd Field can help you discover: • Why the first ten pages of every script are crucial to keeping professional readers' interest • How to visually grab these influential readers from page one, word one • Why structure and character are the basic components of all narrative screenplays • How to adapt a novel, a play, or an article into a saleable script • Tips on protecting your workthree ways to establish legal ownership of screenplays • Vital insights on writing authentic dialogue, crafting memorable characters, building strong yet flexible storylines (form, not formula), overcoming writer's block, and much more Syd Field is revered as the original master of screenplay story structure, and this guide continues to be the industry's gold standard for learning the foundations of screenwriting. Chapter One What Is a Screenplay? Suppose you're in your office. . . . A pretty stenographer you've seen before comes into the room and you watch her. . . . She takes off her gloves, opens her purse and dumps it out on the table. . . . She has two dimes and a nickeland a cardboard match box. She leaves the nickel on the desk, puts the two dimes back into her purse and takes her black gloves to the stove. . . . Just then your telephone rings. The girl picks it up, says hellolistensand says deliberately into the phone, I've never owned a pair of black gloves in my life. She hangs up . . . and you glance around very suddenly and see another man in the office, watching every move the girl makes. . . . Go on, said Boxley smiling. What happens? I don't know, said Stahr. I was just making pictures. The Last Tycoon F. Scott Fitzgerald In the summer of 1937, F. Scott Fitzgerald, drinking far too much, deeply in debt, and drowning in the suffocating well of despair, moved to Hollywood seeking new beginnings, hoping to reinvent himself by writing for the movies. The author of The Great Gatsby, Tender Is the Night, This Side of Paradise, and the uncompleted The Last Tycoon, perhaps America's greatest novelist, was, as one friend put it, seeking redemption. During the two and a half years he spent in Hollywood, he took the craft of screenwriting very seriously, says one noted Fitzgerald authority: It's heartbreaking to see how much effort he put into it. Fitzgerald approached every screenplay as if it were a novel and often wrote long backstories for each of the main characters be...

8220;Screenplay is one of the bibles of the film trade and has launched many a would-be screenwriter on the road to Hollywood.” *—Library Journal

*“Syd Field is the preeminent analyzer in the study of American screenplays.” —James L. Brooks, AcademyAward–winning writer, director, producer

Autorentext

Syd Field

Klappentext

Hollywood’s script guru teaches you how to write a screenplay in “the ‘bible’ of screenwriting” (The New York Times)—now celebrating over forty years of screenwriting success!

Syd Field’s books on the essential structure of emotionally satisfying screenplays have ignited lucrative careers in film and television since 1979. In this revised edition of his premiere guide, the underpinnings of successful onscreen narratives are revealed in clear and encouraging language that will remain wise and practical as long as audiences watch stories unfold visually—from hand-held devices to IMAX to virtual reality . . . and whatever comes next.

As the first person to articulate common structural elements unique to successful movies, celebrated producer, lecturer, teacher and bestselling author Syd Field has gifted us a classic text. From concept to character, from opening scene to finished script, here are fundamental guidelines to help all screenwriters—novices and Oscar-winners—hone their craft and sell their work.

In Screenplay, Syd Field can help you discover:
• Why the first ten pages of every script are crucial to keeping professional readers’ interest
• How to visually “grab” these influential readers from page one, word one
• Why structure and character are the basic components of all narrative screenplays
• How to adapt a novel, a play, or an article into a saleable script
• Tips on protecting your work—three ways to establish legal ownership of screenplays
• Vital insights on writing authentic dialogue, crafting memorable characters, building strong yet flexible storylines (form, not formula), overcoming writer's block, and much more

Syd Field is revered as the original master of screenplay story structure, and this guide continues to be the industry’s gold standard for learning the foundations of screenwriting.

Leseprobe
*Chapter One

• What Is a Screenplay?

  “Suppose you’re in your office. . . . A pretty stenographer you’ve seen before comes into the room and you watch her. . . . She takes off her gloves, opens her purse and dumps it out on the table. . . . She has two dimes and a nickel—and a cardboard match box. She leaves the nickel on the desk, puts the two dimes back into her purse and takes her black gloves to the stove. . . . Just then your telephone rings. The girl picks it up, says hello—listens—and says deliberately into the phone, “I’ve never owned a pair of black gloves in my life.” She hangs up . . . and you glance around very suddenly and see another man in the office, watching every move the girl makes. . . .”

  “Go on,” said Boxley smiling. “What happens?”

  “I don’t know,” said Stahr. “I was just making pictures.”

  —The Last Tycoon

  F. Scott Fitzgerald

  In the summer of 1937, F. Scott Fitzgerald, drinking far too much, deeply in debt, and drowning in the suffocating well of despair, moved to Hollywood seeking new beginnings, hoping to reinvent himself by writing for the movies. The author of The Great Gatsby, Tender Is the Night, This Side of Paradise, and the uncompleted The Last Tycoon, perhaps America’s greatest novelist, was, as one friend put it, seeking redemption.

  During the two and a half years he spent in Hollywood, he took the craft of screenwriting “very seriously,” says one noted Fitzgerald authority: “It’s heartbreaking to see how much effort he put into it.” Fitzgerald approached every screenplay as if it were a novel and often wrote long…