Story: Style, Structure, Substance, and the Principles of ScreenwritingHarper Collins, 28 set 2010 - 480 pagine Robert McKee's screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee. |
Sommario
Sezione 16 | 208 |
Sezione 17 | 233 |
Sezione 18 | 252 |
Sezione 19 | 285 |
Sezione 20 | 288 |
Sezione 21 | 303 |
Sezione 22 | 317 |
Sezione 23 | 334 |
Sezione 9 | 110 |
Sezione 10 | 123 |
Sezione 11 | 135 |
Sezione 12 | 151 |
Sezione 13 | 181 |
Sezione 14 | 193 |
Sezione 15 | 195 |
Sezione 24 | 346 |
Sezione 25 | 374 |
Sezione 26 | 380 |
Sezione 27 | 388 |
Sezione 28 | 410 |
Sezione 29 | 418 |
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Story: Style, Structure, Substance, and the Principles of Screenwriting Robert McKee Anteprima limitata - 1997 |
Parole e frasi comuni
action answer audience Based beat becomes begin believe bring build calls cause Central character choice Climax comes conflict convention create creative death deep desire dialogue door effect emotion Evelyn example expectation experience express eyes face fact falls father feel film find first forces genre Gittes give hand happen head human idea images imagination Inciting Incident inner inside insight kill leave limit lives look major matter meaning mind minutes move nature negative never novel once play Plot political positive possible principle protagonist question reach reaction reality realize ROBERT scene screen Screenplay sense sequence society step stery story subplot telling things thought tion true truth turn understand woman writer Written