Prezados Alunos

Não teremos aula esta semana *26 junho 2015*.

A entrega do trabalho é até dia 10 de JULHO
enviar para Alfredo e Igor respectivamente, por email.
Trabalho Final entregue em tres arquivos PDF

um com Storyline

um com Argumento

e um com Roteiro

Em todos os PDF incluir nome completo de todos os alunos do grupo, RA e email.


em caso de duvidas sobre o trabalho, encainhar email aos professores.

Att.

Igor e Alfredo

aula: 12.06

Pessoal, dia 12 teremos aula com professor convidado LUCAS BUENO, roteirista, ator, diretor de filmes, series, teatro e novelas! Não faltem!!!

 

Mais dois livros para Disciplina!

Pessoal
ja disponibilizamos no DRIVE e no MOODLE
mais dois livros da disciplina:

Christopher Vogler - A Jornada do Escritor (indicado pelo aluno André Farias)
e
o livro que indiquei na aula passada *que infelizmente não se encontra mais na biblioteca* O Poder do Clímax


Att
Igor

segue link pra o curta 11 de setembro do Sean Penn: neste link o youtube aceita clicar na opção legenda e traduzir legenda para portugues...

https://www.youtube.com/watch?v=Gm8LfW1N7rQ

descrever o climax do filme! trazer na proxima aula.

Jornada do Herói:
slides da aula de hoje: http://prezi.com/zk6d5qdlcfox/?utm_campaign=share&utm_medium=copy

Outra Info: aula 20/03: Jornada do Herói

Como complemeto para aula desta sexta, sugiro leitura dos textos da Linda Seger (são capítulos dos livors: Como Criar Perosnagens Inesquecíveis e Como Aprimorar um bom roteiro) - disponiveis no xerox do IA.

aula do dia 20/março: A JORNADA DO HERÓI

Lista dos filmes que vamos utilizar esta aula:

1. O Poder de um Jovem - https://www.youtube.com/watch?v=lrZR7UlbN3o
2. A Paixão de Cristo - https://www.youtube.com/watch?v=iy-HYodBvNs
3. Billy Jack - https://www.youtube.com/watch?v=0PcHLvFhFUg
4. Mad Max Além da Cúpula do Trovão - http://minhateca.com.br/pameladavies/A+a+Z/Mad.Max.3-Beyond.Thunderdome*5b1985*5dDvDrip-aXXo,258645494.avi%28video%29 (Download)
5. A Última Tentação de Cristo - http://minhateca.com.br/maninho0/LETRA+A/A+*c3*9aLTIMA+TENTA*c3*87*c3*83O+DE+CRISTO+-+DUBLADO/A+*c3*9aLTIMA+TENTA*c3*87*c3*83O+DE+CRISTO+-+DUBLADO,118622415.AVI%28video%29 (Download)
6. Precisamsos falar sobre Kevin - https://www.youtube.com/watch?v=tU7vcqqdwdw
7. A musica não pode Parar (a.k.a. A Musica Nunca Parou) - http://www.alluc.com/l/The-Music-Never-Stopped-2011-DVDRip/6pyfstmv
8. Eu matei minha mãe - https://www.youtube.com/watch?v=zIsLdm9psE
   
   

Conversaremos sobre A Jornada do Herói (Joseph Campbell), e abriremos pauta para discussoa sobre construção de personagens, e como a jornada do herói conduz/auxilia a construção da curva dramática.

Livro sugerido está no Moodle e no Google Drive.

Durante a semana deixarei na pasta do xerox do IA, os capitulos sugeridos para leitura sobre construção de personagens dos livros da Linda Seger.

Arquivos da Disicplina CS039 - Oficina de Roteiro I (2015)

Prezados Alunos,

Pedimos a gentileza de que nos encaminhe seus emails (pode encaminhar para o email capuccinoprod@gmail.com - prof. Igor) para que cadastremos no google drive.

 Em seguida vocês receberão um email do google drive com link para uma pasta com os arquivos (textos, ementa, etc) da disciplina. A pasta está com o nome: CS039 Oficina de Roteiro I

 Aqui no blog avisaremos sempre que um novo arquivo for postado lá.

 Abraços

PRAZO DOS TRABALHOS FINAIS: 8 DE JULHO

Atenção pessoal, o prazo final para entrega dos roteiros (em sua versão final) foi estendido para 8 de julho, terça-feira. Favor encaminhar os trabalhos para meu e-mail e da Líllian. Abs!

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