[{"data":1,"prerenderedAt":436},["ShallowReactive",2],{"\u002F2019-09-03-note-screen-writing-101":3},{"id":4,"title":5,"body":6,"date":413,"description":12,"extension":414,"meta":415,"navigation":418,"path":430,"seo":431,"stem":432,"tags":433,"__hash__":435},"blogs\u002F_legacy\u002F2019\u002F2019-09-03-note-screen-writing-101.md","《Screen writing 101》笔记",{"type":7,"value":8,"toc":399},"minimark",[9,13,16,20,23,26,29,32,51,54,57,68,71,74,77,80,86,89,92,97,100,105,108,113,116,121,124,129,132,137,140,143,148,151,156,159,164,167,170,173,176,187,190,216,219,222,225,228,231,234,251,254,257,260,263,266,280,283,286,291,294,297,302,305,308,313,316,319,324,327,332,335,340,345,348,351,354,357,361,364,367,370,373,376,379],[10,11,12],"p",{},"如其名称，这是另一本关于银幕剧本创作的书。",[10,14,15],{},"这本书介绍的方向是从冲突开始的，创作的方法论虽然难免会有很多相似的地方。但是故事毕竟更加接近艺术的领域，自然无法像是软件工程一样精确。所以会有很多不同的观点呢。",[17,18,19],"h2",{"id":19},"戏剧就是冲突",[10,21,22],{},"戏剧是会给主角生活带来明显改变的冲突。",[10,24,25],{},"Drama is Ordered Conflict.",[10,27,28],{},"所以，需要从“明显改变”开始，对素材进行压缩。对事件发生的时间范围进行压缩，同时对事件进行拆解。",[10,30,31],{},"在对事件进行组织后，首先需要发展出的是前提：",[33,34,35,39,42,45,48],"ul",{},[36,37,38],"li",{},"谁是主要角色？",[36,40,41],{},"谁是对手？",[36,43,44],{},"他们为什么对抗？",[36,46,47],{},"这冲突的结果，会带来什么改变？",[36,49,50],{},"为什么主角必须采取行动来达成这个改变？",[17,52,53],{"id":53},"让观众满意",[10,55,56],{},"这里也是采用了三幕的形式：",[33,58,59,62,65],{},[36,60,61],{},"第一幕- 吸引力",[36,63,64],{},"第二幕- 预期心理",[36,66,67],{},"第三幕- 满意",[10,69,70],{},"这里第一幕的吸引力是很重要的：“我真想知道主角怎么解决这个难题。”",[10,72,73],{},"这里给出的《雨人》的大纲很有参考意义，用三句话讲明白了一个故事。",[17,75,76],{"id":76},"银幕故事的要素",[10,78,79],{},"这一章虽然叫这个名字，其实是从作者的观点对这个故事的前进结构进行了描述。",[10,81,82],{},[83,84,85],"strong",{},"背景故事",[10,87,88],{},"是在本篇之前发生的事件，根据不同的故事类型需要不同程度的背景故事。例如侦探故事和动作冒险类故事对背景故事的需求完全不同。",[10,90,91],{},"背景故事在处理上，要尽量避免背景故事对主要情节的时间占用以及对叙事节奏的破坏。",[10,93,94],{},[83,95,96],{},"内心需求",[10,98,99],{},"有了背景故事，然后就可以设置角色隐藏的未知的内心需求。",[10,101,102],{},[83,103,104],{},"刺激诱因",[10,106,107],{},"然后就会发生激励事件，改变主角的生活。",[10,109,110],{},[83,111,112],{},"外部目标",[10,114,115],{},"主角的生活平衡被打破，便需要确立一个外部目标来恢复生活的平衡。",[10,117,118],{},[83,119,120],{},"准备",[10,122,123],{},"外部目标不可能轻易达到，所以需要准备。",[10,125,126],{},[83,127,128],{},"敌对力量",[10,130,131],{},"敌对力量则会阻止主角达到目标。",[10,133,134],{},[83,135,136],{},"自我启示",[10,138,139],{},"主角在理解自我内心需求过程中的最低潮。",[10,141,142],{},"一个角色是不会凭空被真正了解的，观众对主角的理解，基于主角的所作所为。",[10,144,145],{},[83,146,147],{},"沉迷困扰",[10,149,150],{},"主角改变之后，开始专注行动，改变外部世界",[10,152,153],{},[83,154,155],{},"争斗",[10,157,158],{},"最终会与对手进行对决。",[10,160,161],{},[83,162,163],{},"问题解决",[10,165,166],{},"然后主角的生活重新回到平衡状态。",[17,168,169],{"id":169},"故事角色",[10,171,172],{},"将前面提到的故事要素结合起来 的，就是角色人物。",[10,174,175],{},"无法将情节（故事）和角色区分开来。",[33,177,178,181,184],{},[36,179,180],{},"要学习主动去倾听，让你的角色和你说话",[36,182,183],{},"使用自传体式的放大镜，同时搜寻比你更多的特质",[36,185,186],{},"引导角色，并喜爱他们",[10,188,189],{},"关于角色的问题：",[33,191,192,195,198,201,204,207,210,213],{},[36,193,194],{},"你的主角什么时候最快乐？",[36,196,197],{},"你的主角可能有什么才能？",[36,199,200],{},"如果你的角色改变自己一件事，会是什么？",[36,202,203],{},"你的主角认为自己最伟大的成就是什么？",[36,205,206],{},"你的主角最珍视的财产是什么？",[36,208,209],{},"你的主角最浪费的行为是什么？",[36,211,212],{},"什么时候你的主角会撒谎？",[36,214,215],{},"你的主角最后悔的事是什么？",[10,217,218],{},"去发现而不是去管理你的角色。",[10,220,221],{},"谁是你的主角？角色就代表他们的行动。角色就是动作。",[10,223,224],{},"角色的最少量行动，指的是合情合理的情况下，角色只会采取最少量的行动。要调整角色的行动，就需要调整场景中的价值筹码。",[10,226,227],{},"认知失调的理论上，人类会主动回避可能会引起失调的情况或信息。",[10,229,230],{},"而正是这种内心的冲突，会触发角色的自我怀疑。内心需求和自我观念的对抗最终会让角色作出戏剧性的选择。",[10,232,233],{},"冲突的焦点按照层面的不同，可以分为：",[33,235,236,239,242,245,248],{},[36,237,238],{},"个人自身的冲突焦点",[36,240,241],{},"人与人之间的冲突焦点",[36,243,244],{},"意外情况的冲突焦点（自然灾害）",[36,246,247],{},"社会级别的冲突焦点",[36,249,250],{},"利益相关的冲突焦点",[10,252,253],{},"在设置上，外部目标必须得到观众的认同。在观众认同角色的情况下，外部目标必须和观众有所关联，最好能够让观众感同身受。",[10,255,256],{},"在确立了角色的外部目标后，就可以去探寻：是什么力量阻止主角达成目标？",[17,258,259],{"id":259},"银幕故事脉络",[10,261,262],{},"观众开始观看电影时，其实是自愿的终止了怀疑，要严格防止干扰观众信任的行为。所以，为了保证可信度，需要做好研究与调查。可以多研究同类型的小说和电影，但同时要小心不要被资料所束缚。",[10,264,265],{},"然后作者介绍了他自己在这个阶段的创作方法：沙发上的写作。总体而言就是自由联想。让角色自己浮现出来，同时构成故事脉络的要素：",[33,267,268,271,274,277],{},[36,269,270],{},"戏剧化的强调：主角的外部目标，观众和主角的主轴关联性",[36,272,273],{},"物质世界：不能干扰观众的信任",[36,275,276],{},"时间：年代叙述要迅速带入",[36,278,279],{},"角色的思考方式：时代背景的态度、行为和价值观",[17,281,282],{"id":282},"银幕故事类型",[10,284,285],{},"这章主要是对类型进行了描述，类型只是一个工具，并没有明确区分的必要性。这里也没有都记录下来，只挑了几个和传统意义上感觉不是很一样的：",[10,287,288],{},[83,289,290],{},"美好的故事（Fairy Tale）",[10,292,293],{},"着重于由束缚中解放出来。",[10,295,296],{},"某种物体和行为，被当作释放的象征：钢琴课",[10,298,299],{},[83,300,301],{},"个人的探索",[10,303,304],{},"在相对封闭的地点或团体中。",[10,306,307],{},"对自我的真实的探究。",[10,309,310],{},[83,311,312],{},"侦探类型",[10,314,315],{},"强调区辨正邪。",[10,317,318],{},"在扭曲的环境中，一个寻求真实的人。",[10,320,321],{},[83,322,323],{},"恐怖",[10,325,326],{},"非人的或者环境的。",[10,328,329],{},[83,330,331],{},"惊悚",[10,333,334],{},"无辜的卷入极大的阴谋。",[10,336,337],{},[83,338,339],{},"动作冒险",[10,341,342],{},[83,343,344],{},"抽象的痛苦烦恼",[10,346,347],{},"例子：《莫扎特传》",[17,349,350],{"id":350},"剧本写作方式",[10,352,353],{},"一些写作剧本的规范。对我没啥意义。",[10,355,356],{},"通过台词和潜台词来传达戏剧冲突的节拍。",[17,358,360],{"id":359},"静下心来写你的剧本","静下心来，写你的剧本",[10,362,363],{},"每个编剧都是以自己的方式来创造剧本大纲的，你也要不断尝试，直到找到了最合适你个人习惯的技巧。",[10,365,366],{},"整本书其实介绍的是作者自己的创作方法，对于作者而言，沙发上写作阶段之后才会形成大纲。",[10,368,369],{},"草稿时期不需要在意很多剧本原则规范，修订草稿阶段才需要按照规范。",[17,371,372],{"id":372},"编剧这一行",[10,374,375],{},"有很多关于电影行业本身的咨询，没有什么太多的意义。",[10,377,378],{},"最后列出的是作者给出的需要的剧本检查项：",[33,380,381,384,387,390,393,396],{},[36,382,383],{},"有没有一位毋庸置疑的主角？",[36,385,386],{},"主角有没有明确定义的问题需要解决？",[36,388,389],{},"有没有集中对抗主角的鲜明对立的对手？",[36,391,392],{},"为了解决问题，需要主角采取行动来对付对手吗？",[36,394,395],{},"为了解决问题，是否要把主角的价值观带进问题里面？",[36,397,398],{},"你有没有故事情绪上的主要原动力，而不是使剧本的一切都显得太过聪明机巧了？",{"title":400,"searchDepth":401,"depth":402,"links":403},"",2,3,[404,405,406,407,408,409,410,411,412],{"id":19,"depth":401,"text":19},{"id":53,"depth":401,"text":53},{"id":76,"depth":401,"text":76},{"id":169,"depth":401,"text":169},{"id":259,"depth":401,"text":259},{"id":282,"depth":401,"text":282},{"id":350,"depth":401,"text":350},{"id":359,"depth":401,"text":360},{"id":372,"depth":401,"text":372},"2019-09-03","md",{"layout":416,"status":417,"published":418,"author":419,"author_login":421,"author_email":422,"wordpress_id":423,"wordpress_url":424,"date_gmt":425,"excerpt":426},"post","publish",true,{"display_name":420,"login":421,"email":422,"url":400},"风铃","flinkor","flinkor@foxmail.com",2680,"\u002F?p=2680","2019-09-03 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