MindMap Gallery Director and screenwriter—theme, character mind map
This is an article about directors and screenwriters - themes and character mind maps, including theme first, character creation, etc., and introduces the methods and practices of character setting.
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This is a mind map about bacteria, and its main contents include: overview, morphology, types, structure, reproduction, distribution, application, and expansion. The summary is comprehensive and meticulous, suitable as review materials.
This is a mind map about plant asexual reproduction, and its main contents include: concept, spore reproduction, vegetative reproduction, tissue culture, and buds. The summary is comprehensive and meticulous, suitable as review materials.
This is a mind map about the reproductive development of animals, and its main contents include: insects, frogs, birds, sexual reproduction, and asexual reproduction. The summary is comprehensive and meticulous, suitable as review materials.
Director Screenwriter
Topic first
Screenwriter: Use images and movements to give life to the story and create a smart new world.
Topic first
Misunderstandings of micro-film screenwriters: Screenwriting based on story and characters
Correct order 1. Determine theme > 2. Determine characters > 3. Plot
The importance of the theme - Take Maupassant's "The Necklace" as an example, the theme: excessive vanity leads to disaster. Characters and plots revolve around the theme The theme is established - the cohesion of the work; the theme is not established - the story is not well written, new themes are generated, and the characters and plots need to be adjusted. Possibilities can be developed into stories. Possibilities cannot coexist, so we must first establish the direction.
The theme is the creator’s stance, judgment, and perspective on events, life, and human nature; The theme cannot be ambiguous. The theme is a judgment expressed through a complete statement - character, conflict, result.
Generally there will not be multiple themes - all the characters and plots serve to prove the same theme - the theme is cohesive
Expression should rely on presentation - the audience's tendency to see the subject in the movie scene
Methods and practices for establishing themes
1. The theme comes from a certain concept: ①. Express the status or result of the concept ②. The reason or obstacle for the result ③. Develop into a theme expression form including conflicts, consequences, and characters.
2. The theme comes from a certain subject matter: ①. The most touching character in the subject matter ②. The character’s appeal and whether the price of the appeal is obtained ③. Summarize conflicts, results, and characters.
Thoughts after establishing the theme: 1. The possibility of the theme being established in reality 2. The representativeness and universality of the theme in reality 3. Do you believe in this topic? 4. How to make the audience believe in this topic? 5. Whether the theme can make the audience think
create character
three dimensions of character
Flat type
Symbolization, functionalization
round figure
Three-dimensional, vivid, complex, with multiple sides
three parts of character
1. The professional part
2. Personal part
3.Private life part
three dimensions of character
Physical dimensions, social dimensions, and psychological dimensions - three-dimensional characters, plot suspense settings, and choices that fit the dimensions.
Introduce character information in a cinematic way - revealed through images and actions
The importance of clear dimensions
Make impossible stories possible
The process of completing character information: physiological dimension, social dimension, and psychological dimension
Character information makes the story very reasonable - you need to know the characters very well, and the characters make actions that are consistent with their situation, identity, and personality.
character arc
The trajectory of character development and change conforms to the concept of film movement - seeing a change: the imprint of plot development, the desire for movement
Dealing with Character Change—The Process of Gradual Development
Experiment with character arcs: Compare the character's beginning and end - personality, destiny, emotions, stance, values
Active and Passive Characters
1.Visual pause 2. Pauses between dialogues
Passive characters: no change, nothing to do
Cause: 1. Not understanding the characters 2. Don’t know/don’t need its behavior 3. Piling up plots without motivation or desire
Active person: Ability to take action and impulse to change
Active characters need to explain the reasons for their motivations - to make the audience believe Let the characters experience choices under pressure - see the true side of the characters and see the dark side of the characters, which will have a strong impact on the audience
Make the audience identify with the characters
Whether the character's success or failure can affect the audience's heart - identification, substitution, and happiness Acknowledge the character's choices, worry about the character's fate, and be concerned about the character's success or failure
Create a sense of identity for the character
Premise: The audience knows enough about the character - recognizes his situation, understands his choices, and is moved by his fate
The sense of identity is not limited to the positive characters: the villains do what they should do, there are universal emotions in the villains, and there are shining points in the villains. Block all escape routes for the characters and make the audience agree with this choice
Character setting methods and practices
The theme requires characters to perform, overcome obstacles in action, and develop into a complete plot.
Character setting requirements: clear background, real character, reliable motivation, and strong action ability
The character setting needs to be clear: 1. What kind of character is this? Do you and the audience understand him? 2. What does this character want? 3. Will not getting what he wants have a fatal impact on him? 4. How the character realizes his motivations 5. Is this what the character can only do? If I were him, would I do the same thing? 6. Does the character get what he wants? ——The results cannot be due to coincidence or chance