Download Emotional Structure: Creating the Story Beneath the Plot: A by Peter Dunne PDF

By Peter Dunne

Publish yr note: First released January 1st 2006
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The bounce from proposal to ultimate draft is superb, and the duty is full of labor and horrors. it's the following that the majority writers fight to get the plot correct on the rate of the story's genuine strength. the result's a script that's logical in each manner, but unmoving. Emotional Structure, by way of Emmy- and Peabody-Award profitable manufacturer, author, and instructor, Peter Dunne, is for those instances, whilst the plot matches well into position like items in a puzzle, but an elemental, extraordinarily vital whatever continues to be lacking.

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Additional info for Emotional Structure: Creating the Story Beneath the Plot: A Guide for Screenwriters

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97 In an extensive series of anonymised interviews with industry figures, the magazine Fade In documented the inner business workings of the studios, including widespread allegations of brutish behaviour by numerous executives – often naming names. One screenwriter claims ‘Paramount is a mess. I’ve worked on a number of movies at Paramount, and I believe it comes from the top. [Parent company Viacom Chief Executive Officer Sumner] Redstone likes instability in his executive branch. ’98 A producer claims that Fox ‘hate filmmakers, they hate producers, and they hate directors after the movie is shot … It’s common knowledge that [Chief Executive Officer] Tom Rothman hates producers.

To suggest that US foreign policy is the result of deeper, more unseemly economic and political interests is virtually unsayable. Negative consequences of warfare are not the result of government policy but rather of ‘bad apples’ or ‘rogue elements’ in the mix. The most reprehensible crimes, such as the US assaults on Indochina and the Middle East, at worst create trauma for the US itself. One of the strengths of such an approach to reading these films is that it closely resembles the Pentagon’s own view of how movies need to be constructed for its own ends.

36 Through its ownership of 80 per cent of Universal Studios, GE also became one of the world’s major storytellers. 37 Even without the presence of such ‘crazies’ and external interests, Hollywood would still produce similar material as a rule. Hollywood is controlled by a corporate mentality and the upper echelons are more liable to discourage critical, investigative, or responsible films rather than directly encourage the opposite. Still, while the image of Hollywood being run by bean-counters is relatively comforting, as we can see, this is not always the case and, indeed, there are some suspicious cases of apparent direct interference in studio products from higher up the corporate food chain.

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