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A well know story with a twist...

Another brilliant video which illustrates the point we were discussing some months ago.

So you all know the stoy of Three Little Pigs, right? Or do you? ;)

If the script doesn't work, even best actors won't help ;-)

List of all written assignments in II semester

Everything I needed from you this semester to give you signature for the course:

1. Tick Tock homework (character defining moment + "casting game")

2. Dialogue - part 1
- examples of real life dialogue you have overheard (in any language, focus on informal language)
- examples of "manipulative" dialogue (speakers not saying what they really think or speakers manipulating their listeners - either overheard real life conversations or dialogue you remember from favourite films/TV shows)

3. Dialogue - part 2
- Polish subtitles for the scene from Red Dwarf

4. Dialogue - part 3
Short review of Polish subtitles from your favourite film - are they done according to the rules, how many lines are displayed on screen at a time, length of lines, font, size, omission of unnecessary expressions etc. (special attention to songs)

5. Storyboard for the first two scenes in The Bridge (+ active participation in discussion on the script next Thursday)



If someone is late with one of these I need to get a PRINTED copy on Tuesday morning the latest!

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Sequence approach and some final tips

3:30 minute mark up to 4:30

STORYBOARDING - where writing meets filming

We have done all planned work on dialogue so for the remaining part of the course we are going to concentrate on differenf ways of finessing your script.


As you have probably noticed writing action description is way easier than writing good, natural dialogue. But there are still some tricks that can be applied to make your writing leaner, and your narrative brisk and alive.


One of them is drawing storyboards either before describing the scene, or after - before editing it down during a rewrite.

Think of it as if you were drawing a comic. Not all elements of the action are necessary to be shown. Because the artist is restricted by a limited number of panels per page, he needs to show only the key moments - the ones which are absolutely vital for the purpose of storytelling.


Have a look at the panels below and notice which elements are highlighted.

Sequence 1 (even without dialogue you have a pretty good idea what is going on)







(Artist: Greg Tocchini)

Sequence 2 (relying on reader's background knowledge - loading bar on a computer)



(Artist: Greg Tocchini)


The same principle applies to action description. In our class tomorrow we'll be drawing storyboards for a sequence from an unproduced script The Bridge (pages 1-2).

folder: screenplays
password: tick tock

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Dubbing - how to do it?

Promised link to a short article on dubbing (and the role of a screenwriter).

"Translator, Adapter, Screenwriter: Translating for the audiovisual"

Pay attention especially to chapters: "phonetic synchronism" and "dramatic synchronism".





And here you can read about the most awkward job in the world of translation ;-)


Because I we will not have classes on Thursday (Open Days)
I would like to ask for your help on Wednesday afternoon.

Between 1 - 3 pm I'll be in rooms 207, 209 and 210. I need help with moving tables, putting up posters, preparing equipment etc. Nothing too difficult and it won't take you too much time.

Thanks in advance! :-)

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