trabalhos finais

Olá pessoal, nosso último encontro presencial foi na sexta passada. Nesta semana não nos encontraremos, mas estarei recebendo por e-mail e pela nossa página no Facebook os roteiros finalizados, até domingo dia 6/7. Vou conversar com a Lillian e é possível que estiquemos esse prazo, mas até segunda ordem o deadline é 6/7. Eu mantenho vcs informados por aqui. Abs!

encontro amanhã

Oi pessoal, amanhã estarei atendendo os alunos normalmente entre 14h e 16h nas mesinhas do IA, como em nosso último encontro. Será nosso último encontro presencial. Quem quiser discutir o 2o tratamento de seu roteiro deve ir. Quem quiser entregar a versão final tb pode aproveitar a oportunidade. Abraços!

Corpo em Delito na Casa do Lago: 24/6, terça, às 13h

Na próxima terça, dia 24/6, será exibido na Casa do Lago (Unicamp), às 13h, o filme Corpo em Delito, dirigido pelo Prof. Nuno Cesar Abreu, do Decine (Depto. de Cinema do IA). A sessão será aberta ao público, seguida de debate com o diretor. Segue abaixo ficha técnica completa do filme. Por favor, conto com a presença de vcs na Casa do Lago às 13h - o horário foi adiantado por conta da programação da Casa, precisamos encerrar o evento antes das 16h. Obrigado e abraços! CORPO EM DELITO, 1989, São Paulo, SP. ficha técnica: pre: Miguel Freire; dir: Nuno César Abreu; dip: Jefferson Albuquerque Jr; arg: Sérgio Villela; rot: Sérgio Villela e Nuno César Abreu; fot: Carlos Egberto; cen: Vânia Guiomar César Abreu; mtg: Marília Alvim; mus: Raul do Valle; cpr: NCA Pro- duções Artísticas, Sol Cinematográfica, Quanta Centro de Pro- duções, Secretaria de Cultura do Estado de São Paulo e Embrafilme; colorido, 35mm, 90 min, gen: drama. elenco: Lima Duarte, Regina Dourado, Renato Borghi, Dedina Bernadelli, Álvaro Freire, Fernando Amaral, Dira Paes, José Marinho, Tonico Pereira, Ivan Setta, Edir Castro, Wilson Grey, Delta Araújo, Carlinhos de Jesus, Humberto Petrancini. si- nopse: Nas décadas de 60/70, o Dr. Athos Moreira Brasil (Lima Duarte) é um médico legista, frio e solitário, que pres- ta serviços aos órgãos de repressão política, forjando laudos de morte natural para massacrados pela tortura praticada nos porões da ditadura militar. Ele se apaixona por Tana Divino (Regina Dourado), sensual, mística e amorosa, que trabalha numa casa noturna fazendo dublagens de cantoras. Prêmios: Melhor Diretor (Júri da Crítica), Filme, Ator (Lima Duarte), Roteiro (Sérgio Vilela e Nuno César Abreu), Cenografia (Vâ- nia César Abreu), Revelação (Dedina Bernardelli), III Festi- val de Cinema de Natal, RN, 1989. (fop: d-15)

Como escrever flashbacks em roteiros #4

http://screenwriting.io/what-is-the-best-way-to-handle-flashbacks-or-dream-sequences-in-a-screenplay/

Como escrever flashbacks em roteiros #3

http://www.scriptmag.com/features/craft-features/ask-the-expert-all-about-flashbacks

Como escrever flashbacks em roteiros #2

http://www.storysense.com/format/flashbacks.htm

Como escrever flashbacks em roteiros #1

http://www.scriptologist.com/Magazine/Formatting/Flashbacks/flashbacks.html

Formatação: dicas avançadas

http://filmmakeriq.com/lessons/a-guide-advance-screenplay-formating/

Sobre INT. e EXT.

http://johnaugust.com/2003/int-and-ext

Como escrever cenas em carros #3

http://www.whatascript.com/screenplay-format-06.html Part 1 - Car scenes 101 Formatman: First, the basics! Ask yourself. Where do you want to put the focus of the reader? on the car itself, on the activity in the car, or on both? Your answer to this question determines how to write the car scene. Option 1) Putting the focus on the car There are basically 2 reasons to do that: the car - and the activity around it - is the object of interest in the scene, NOT what is happening in the car, you first want to show the car in its environment before showing what's happening inside the car. In both cases the car is part of the Exterior set. In terms of screenplay format, the master scene heading starts therefore with EXT. This is the beginning of a draft version of Gone in 60 seconds, screenplay written by Scott Rosenberg. This scene got edited later on, but it illustrates the point: In this example the car is even introduced as a secondary master heading to put emphasis on it. EXT. LONG BEACH STREET - LOWER GRAND - NIGHT The streets are empty. Low fog skims the sidewalks below a gray stew of a sky. It's slightly fuzzy, slightly surreal. The vast Port of Los Angeles is visible in the b.g... No cars parked here ... No cars except - A '67 SHELBY MUSTANG GT-500 Screenplay formatting commandment #6: Thou shalt cut to the chase Silver with deep grill, its sculptured side panels ending in air scoops ... All cock and balls, it stands alone in the lonely cool before dawn ... An old-school totem to speed and style... Option 2) Putting the focus on the INSIDE of the car There are again basically 2 reasons to do that: the activity inside of the car is more important than what we see outside of the car, or we already saw the car in its environment before and you now want to get to what's happening in the car. In both cases, the character watches the outside world through the window and often in thrillers / crime / action movies through binoculars. The car is then considered as an Interior set. The master scene heading starts therefore with INT. This is an extract from 8MM, screenplay written by Andrew Kevin Walker. INT. WELLES' CAR -- NIGHT Welles still watches the house. There's a light on in one of the second floor windows, curtains closed. Welles yawns, shaking his head, trying to stay awake. At the quaint house, a light comes on in the front picture window. Looks like a living room or dining room. The old woman comes to sit at a table. Welles takes binoculars off the front seat... THROUGH BINOCULARS The old woman says something to someone we cannot see. Screenplay formatting commandment #6: Thou shalt cut to the chase In above examples the cars were parked. If the car is moving you use the following screenplay format: INT. CHARLIE'S MINI (MOVING) - NIGHT INT. MINI (CRUISING) - DAY INT. MOVING BLACK CAR -- NIGHT INT. CAR TRAVELLING-- MEPHAM STREET -- DAY The first 2 examples are from The Italian Job, screenplay written by Donna Powers and Wayne Powers. The last 2 examples are from The Bourne Ultimatum, screenplay written by Tony Gilroy, Scott Z. Burns and George Nolfi. Option 3) Putting the focus on BOTH inside and outside We usually first see the car in its environment, then we switch to the occupant(s) of the car and the action taking place in the car. There are 2 common screenplay formats to show that: as separate scenes using an extended scene line i) As separate scenes In this case the screnplay format will usually start with EXT. showing the car and follow with INT. to take care of the action inside of the car. This is an extract from Babel, screenplay written by Guillermo Arriaga. EXT. DESERT -- DAY The Moroccan police trucks drive down the dusty roads. The landscape is harsh and barren. Babel - Police car INT. POLICE TRUCK -- DAY Hassan's wife gives directions. WIFE Make a right here. Alarid, with his hand, signals the driver to follow her directions. Suddenly, in the distance, over the hills, she signals three tiny dots running up a slope. WIFE (CONT'D) That's them. Babel ALARID (To the driver) Stop... The trucks stop and Alarid takes out his binoculars. P.O.V. ALARID'S BINOCULARS -- CONTINUOUS In the distance, we can still see Abdullah, Yussef and Ahmed run across the hills. Abdullah is clearly carrying the rifle. Side notes on binoculars and POV: You may have noticed that Guillermo Arriaga (Babel) uses a different screenplay format for the binoculars than Andrew Kevin Walker (8MM) does. First he uses POV (Point Of View) while it was implied in 8MM, and he uses POV as a master scene heading while it was a secondary scene heading in 8MM. It shows once more that there is not one single way to go about screenplay format. If one of the characters was to speak while watching through his binoculars his name in the dialogue part would be followed by (O.S.), which means OFF SCREEN. Why? because he's at the scene location but not in the camera frame. We would hear him, but not see him, since we see what he sees through his binoculars. POV is usually followed by BACK TO SCENE or a Master heading. POV is sometimes considered as a camera direction, so use it with moderation (see screenplay formatting commandment #5 about that). ii) Focus on BOTH inside and outside - Using an extended scene line The screenplay format in this case uses INT./EXT. or EXT./INT. depending on whether the scene starts inside or outside the car. Doing so ties both the INT. and EXT. scenes together as if they intertwined. This is an example from Drive, screenplay written by Hossein Amini. INT/EXT. IMPALA/ ELECTRONICS SUPERSTORE/ DOWNTOWN - NIGHT Driver reaches under the seat and pulls out a small handheld scanner. He switches it on, tuning it to the right frequency. Crackling police dispatches are interspersed with the basketball commentary now. POLICE SCANNER ...9 Adam 81, what is your current location?...Repeat, what is your current location?... BASKETBALL COMMENTARY ...Another unbelievable three pointer from Davis and the Clippers are within five!... Out of the corner of his eye Driver sees two MEN approach. He doesn't react, expecting them. They cut through the fence with bolt cutters and approach the main building. Driver watches them pull on their masks, then one of them takes out a shotgun and blasts the lock to the front door. Instantly the alarm shrills. The only thing Driver does is to turn on his stop watch. Drive BASKETBALL COMMENTARY ...Time out Knicks... The stop watching keeps ticking away, the siren blaring, the commentary continuing, the police scanner crackling. The storefront is hidden in shadow, impossible to tell what's going on inside. Driver looks at his stop watch. Almost three minutes. One of the masked men emerges now, carrying a duffel bag. Drive For more use of INT./EXT. in non car related scenes, see 2nd formatting commandment: "Thou shalt not let the reader get lost" - See more at: http://www.whatascript.com/screenplay-format-06.html#sthash.iJyu8210.dpuf

Como escrever cenas em carros #2

http://www.storysense.com/format/headings.htm

Como escrever cenas em carros #1

http://www.mentorless.com/2011/04/27/how-to-write-a-car-scene/

Sobre INT. e EXT. em cenas de carro:

http://screenwriting.io/are-scenes-that-take-place-in-cars-int-or-ext/ Car scenes often use camera placements that are both INT. and EXT., so INT./EXT. is usually appropriate for their scene headers. INT./EXT. STEVE BLACK’S CADILLAC – DAY [DRIVING] This is not a hard and fast rule. If your scene is obviously either INT. or EXT., use it. For example, if you have a movie about a family that has encountered a shrink ray, and your centimeter tall characters are adventuring from the back seat of a car to the front, your scene is probably strictly INT.

Tese de Sérgio Puccini: roteiro para documentário

A tese completa do Prof. Sérgio Puccini, sobre roteiro para documentário, pode ser encontrada aqui: http://www.detran.ro.gov.br/pt_admin/uploads/pdf/SEARRE_a4bc6a4b0d9dbdb593b70ad1a03c86c5.pdf Abs!

Introdução ao roteiro de documentário

Olá pessoal, para quem tiver interesse em saber mais sobre o roteiro para filme documentário, recomendo o artigo do Prof. Sérgio Puccini (UFJF), "Introdução ao roteiro de documentário". O texto pode ser baixado neste endereço: dialnet.unirioja.es/descarga/articulo/4006946.pdf Abs!

Atividade de roteiro na sexta-feira 13 - dia de lobisomem

Pessoal, estou pensando seriamente em promover dois encontros como atividade de greve, mas nos quais possamos avançar com nossos trabalhos de forma mais empenhada. Que tal encontrá-los normalmente no horário de aula, na sexta-feira 13 na praça central, bem na direção do IA? Aquele lugar onde tivemos o debate com o Gilberto, o Giuliano Tosin e a Sarah Brandellero. A idéia é que discutamos os roteiros ao ar livre. Vcs topam? Quem topar e garantir presença curta/comente aqui este post. Quem for deve levar computador com bateria carregada para trabalhar. Podemos levar comida e bebida tb. Tb pretendo discutir com vcs a melhor maneira de encerrar o curso, sem prejuízo e com produtividade. Abs!

Envio de material (argumentos, roteiros etc.)

Pessoal, por favor, podem postar seus conteúdos aqui neste blog, mas enviem tb todos os arquivos para meu e-mail alsuppia@iar.unicamp.br, e tb para o e-mail da Lillian. Assim fica mais garantida a entrega dos arquivos. Abs!

Atividades à distância

Td bem pessoal? Desculpem o silêncio nos últimos dias. As atividades com o Zelimir tomaram bastante tempo, mas agora estou de volta. Vou postar regularmente informações aqui no blog da disciplina e em nossa pág. do Facebook sobre nossas atividades a partir de agora. Por favor fiquem atentos, visitem o Face e o blog ao menos uma vez por semana. Abs!