Alexander Mitta

Cinema between heaven and hell

MOVIES IN EYZENSHNEYNU Chekhov, Shakespeare, Kurosawa, Fellini, Hitchcock, Tarko
vsky ..
PART ONE. Make a cool MOVIES
Laughter, pity, horror are the three strings of our imagination, a stunning dram
atic magic.
Pushkin
To amuse, frighten and cause the tears of compassion - this movie does best.
Steven Spielberg
From Shakespeare to Tolstoy
All talented people are talented in different ways. If you want to open the way
his talent to those who understand and appreciate you, this book will help you.
This book is for the person who wants to write a script to make a film and to pl
ay a major role in it.
And while you're thinking, when to do it, this book will allow you to get more e
njoyment out of movies. Agree, if you know the rules of chess, you do not wait l
ike an ignoramus who will win, and have fun while playing. Movies - chess game a
bruptly. Spectators in it - our partners, and any movie as good as how well we p
layed with you. Learn the rules of the game and have fun.
This game always has several levels. Of course, the easiest first, when the view
er slides over the surface.
I heard the audience went with the first level of "Hamlet" with the words:
- Well, the movie - six corpses at once! ..
What's to argue? The dead are actually even more. This viewer himself a pirate.
He tears the film rings and drowns himself in his immortal soul.
Through us from morning till night flows are 6-10 movies TV channels simultaneou
sly. They did not linger in the minds of one replacing the other, to immediately
be pushed to third. The useless cud become good products.
But if you get to the second level, many movies you open the doors to its treasu
ry. What I want to give you - this is the key that opens the Door.
Not quite usual key: from the entrance to the studio of the artist.
Imagine that you are secretly entered the studio of Michelangelo. See Moses and
"Night", half hidden in the stone. An exciting adventure? Like it? Then Godspeed
!
Drama - is the world of ideas. Each scenario push forward dozens of ideas. The b
asis of every film put hundreds of ideas. But in each case there are few fundame
ntal ideas that underlie everything. This applies to the drama, part of which is
a cinema.
Once a famous French essayist Paul Valery asked Albert Einstein: "Tell me how yo
u record your ideas? Do you have a notebook or you pounce on your insights starc
hed shirt cuff? "-" Ideas, you know, come rarely. I remember them all, "- said E
instein. For the essayist Paul Valery paradoxical connection between two dispara
te phenomena is an idea. For Einstein's idea - is something fundamentally explai
ns the principles on which our world operates.
The fundamental ideas of our art does not divide it into high art and low entert
ainment. Ideas of mass entertainment industry were not born in the offices of mo
vie mogul. They are born geniuses - Stanislavski, Eisenstein, Chekhov, and long
before them - Shakespeare, Aristotle, and the same giants. These ideas a bit.
The entertainment industry uses only and has successfully developed the fundamen
tal ideas of the drama.
As one researcher drama: "From the fact that the commercial drama created for sp
ecific recipes, do not be that good dramas are other recipes." It is written in
English with caution. But we can say more crudely: "Shakespeare and TV series op
erate under the same basic rules that underlie each of dramatic structure."
HOW I WAS BORN THIS BOOK
Thirty years I lived in a quiet movie working life, and suddenly lightning flash
ed me success. Most cherished - American. I did in Russia for the English film p
roducer and, as if on purpose, was at a party in New York, preparing to fly away
, when I learned that the American Guild of directors chose the movie "Lost in S

iberia" for a special display - the maximum an act of respect for the American m
ovie from the rest of the world - from Europe to Australia.
I flew two days in Hollywood. The rules of the drama is called "One simple actio
n" - it starts with any competent plot. Arrived - and rolled! I recognize that e
very night any large company watching the movie, "Paramount", "Universal", "thre
e old", "Disney" ... "This is the first sign of success - closed Watching movies
, which everybody says." I was told: "This is your chance - do not miss it!"
Here is the message that the film was nominated for "Told Globe" - the second af
ter the "Oscar" award America. In Hollywood, even a nomination, that is, the las
t selection before the prize - is a lifelong honor. The producer just went crazy
with joy. Further -more England puts the film on "Oscar" as the best film of En
gland non-English language. Every day, the "Hollywood Reporter", the "Verayeti"
something the film reported. This is despite the fact that all the previous year
s, I do not exist in this world.
According to the rules of drama, I took off up the dramatic vicissitudes of "hap
piness." I've got an agent, radiating optimism. My name is on dining and meeting
s. Once I tell at dinner the idea of a new film, and a big Hollywood director ad
mires: "It's the right thing to Hollywood! You should immediately sit down and w
rite down Ba
shu story! You will certainly get a 'Told Globe "and" Oscar "! You need a script
with which you enter on all the doors that open at this moment for you!"
I did not know that all Americans are free to emit and fireworks erupt from itse
lf. Of these, pouring streams, waterfalls gratuitous benevolence. That's fine. B
ut it operates strictly on the territory of "Do not touch my money!"
I flew in the sky, thrown crowd admirers of the film. And suddenly they all turn
ed and left. And I fell to the ground. We have not won the "Golden Globe". "Osca
r," we, too, have not received. And in a moment I forgot. That's what happens in
Hollywood. Companies in the evening looking at the previews talent from New Zea
land, Uganda and Brazil. I dined alone and had dinner in the "McDonald's". This,
according to the rules of drama, called "The drama develops from happiness to u
nhappiness."
But history must be "a turning point." It turned out I won the grand prize novic
e - I was offered a job! A small company has closely followed my progress and di
rector chose me for his film.
And I said to myself: "to explore all the principles on which the industry works
, and apply them to the case." It was an act of the protagonist. Drama intereste
d in a character who overcomes the barriers of obstacles, achieving its goal.
I began to study these principles and amazed. It turns out, I knew it. Long befo
re I knew Chekhov and Stanislavsky. There was not a single idea, which turned to
my idea of ??the drama. Only the classics created their creation as magicians c
onjuring over a fire. And the industry has simplified magic recipe to McDonald's
. And it helps. I wanted a platform where I could combine my knowledge of the ol
d with the new.
And then there was the second turning point, which should be competent in every
story. In Hamburg, a new film school - improved copy of "Advanced Directing Cour
ses" in Moscow.
I was invited to teach a course directors. I had time, and I was eager to check
on someone updated information. When I lived all my pain of a dying medium. Get
rid of them - it's like to cut at an appendicitis. Another thing - operate with
other people's tumors, this can be learned. Hamburg proved my salvation. We work
ed as a team and for two years wrote and shot 40 films and countless exercises.
In the next two years another fifty. The films were mainly 10, 20, 30 minutes short stories, where the rules are especially tough. And together we examined ho
w the rules work than they help, why them better than without them. How do they
stimulate the imagination. And I realized that I could consciously evaluate ever
y element of the film, see it in the development, understand how to use it to te
ll a story with a beginning, middle and end.
Perhaps it would be right to start a business "scenario, the patients I treat."
But I chose to write a book on self-medication.
I hope you will not disappoint gay character in this book. The fact that I could

never finish reading before the end of a single textbook for drama. This is not
a theoretical book, and something like a practical guide Behold hammer, nails h
ere - and plug them into the board.
WHY Leo Tolstoy hated SHAKESPEARE
Did you know that in the spirit of Leo Tolstoy did not take Shakespeare? Chekhov
, laughing, said:
- He does not like my plays. He said, "You know what I hate Shakespeare. But you
r play worse. "
Let Chekhov, Tolstoy is not only loved and adored. The story "The Darling," he o
nce for one night twice read aloud households (as I understand it!). But the gen
ius of Shakespeare was harsh.
"... I read" Macbeth "with great attention - Balagan play. Advanced robber Churk
in. "
"We read ..." Julius Caesar "- a surprisingly bad."
"... What a rude, immoral, vulgar and meaningless product of" Hamlet. "
"The sooner people are freed from the false glorification of Shakespeare, the be
tter."
This hostility seems inexplicable. Literary shrug and say, "This tastes." It's a
bout a genius? How can we doubt that all the literature he could see sharper tha
n we are?
Just think, the problem - you might say. But behind this "stuff" is hiding somet
hing poznachitelney. Let us look, Sherlock Holmes: A cigarette butt found at fir
st, and then the body in the closet.
To clarify the fog, we need to understand what is different from prose drama. It
seems both - literature. Actually therebetween
abyss. And a hundred writers well, if there is one good playwright.
Writer creates a picture of the world of words, as an artist paint. Text prose i
s rich in various turns of phrase, style conveys the unspeakable fineness. Write
r describes unsteady mood formulates deep and paradoxical thought. Such prose Bu
nin, Nabokov. The main thing - in a style that creates sculpted phrases.
The text of the drama (including script) is different from prose as day from nig
ht. Descriptions are faceless and stereotyped. Dialogue functional. The main thi
ng - it's a fascinating story, where the characters get stranded. Poetry lies in
the actions of the actors of the drama, whether they play in the theater or the
movies, or in the play in the film.
This difference is particularly noticeable when you compare the prose and drama
of genius, which God gave both gifts. Chekhov stories indescribably exquisite ly
rics, and plays only short dialogues and simple remarks. Poetry somewhere inside
. (We will analyze where it hides and how to get there.)
Few people have the talent storyteller. Tolstoy and Shakespeare both have this g
ift. But Tolstoy meant to make up a story just the first step. Tolstoy's novel it is by one man movies, where the exact manner described in each frame. You re
ad in your mind like a huge screen flashed with stereo sound.
Tolstoy not only created a great character, he was director of his novels. The s
ensational sight in his films shocked viewers novelty.
Anna Karenina threw herself under a train. Well, what kind of sensation? And the
fact that while in Russia the majority of readers had never seen the railroad.
On the whole of Russia was only one that was built - from St. Petersburg to Mosc
ow. Threw himself under a steam locomotive - it was like that now burn in space
rocket nozzles. Iron fire-breathing devil ate gentle heroine's body - that's wha
t it was for the spectators' theater in the brain ", which is a novel by Tolstoy
.
A famous scene jump in "Anna Karenina"! For the first time on the screen all the
high society of St. Petersburg! Visibly in superfilm.
A great scene in prison and hard labor for delivery in the "Resurrection." For t
he first time on the screen so openly and violently crying Russian lawlessness.
Not to mention the huge mass of the Borodino battle scene in "War and Peace", wh
ere tens of thousands of people turn to the right
your eyes to the bloody cannon fodder. And shown in detail, portraits with incre
dible imagination and precision. In the real cinema still has not removed any sc

ene comparable to Tolstoy's "theater in the brain."

Tolstoy novel-movie offers, and the heart of Shakespeare writes history. You tak
e this heart in your hand - and it is three hundred years alive. Shakespeare wro
te the play, then gathers artists and says:
- Guys, here's the story, let us together will develop it into a spectacle. Let
us not waste time on trifles: Plug the scene stick on the plate will write "fore
st", on the other - a "lock". Let the audience dosochinil, dovoobrazit.
Tolstoy is strongly liking. But thousands of filmmakers die of happiness, being
able to develop ideas and turn Shakespeare into their own. The Energy kernel Sha
kespeare sticks are all talented. Everyone will find their own development. For
this work and playwright: he writes not for the readers and for artists. Results
of work - a play, a movie, TV series.
It turns out that compared to the prose, where the writer does everything himsel
f, drama - semi-finished product? No, my friends, the drama - is a genre, it has
the potential of deep penetration into the human characters (we still talk). To
lstoy knew it, rest assured. Genius penetrate the essence of things more deeply
than we do. Maybe in the depths hidden incomprehensible to us the mystery of inc
ompatibility?
Who remembers Shakespeare and Tolstoy grin. He is clear:
Tolstoy - a realist, he has everything in life. And all of Shakespeare poeticall
y exaggerated. Between him and Tolstoy - gulf of different views on art. Certain
ly not!
Each has a dramatic history of the skeleton. Pick up the skeleton of some storie
s of Tolstoy.
The most realistic and socially requested by Tolstoy's novel - "Resurrection ''.
This bleeding slice of Russian life from the palaces of the aristocracy to the
brothels and stinking prisons. Rarely a novel so much influence on people's mind
s. And what is the basis of the story? What is the skeleton of the novel?
Young handsome Earl seduced an innocent maiden and threw. She rolled into the ab
yss of life. It is wrongly accused of murder. And then the Count, being sworn in
court recognizes the killer maiden seduced them. He is shocked, she wants to sa
ve her, to marry - in short, to atone. Count throws an empty social life and fol
lows the Katyusha oil-howl, condemned to hard labor in Siberia.
Something I had not heard about the life stories of these graphs. Like Count She
remetev married serf actress. But that's another story of a long and faithful lo
ve. And this is - to save the damsel from the brothel, erase my life, estate, ca
reer ... There is one place where these graphs grazing herds. And you know it. I
t reserved the edge tabloid literature.
Are we went out on the hunt for the secret contempt of Tolstoy to Shakespeare, a
ccidentally discovered a secret passion for Tolstoy tabloid melodrama?
No. We discovered something entirely different. Rest assured, if Tolstoy abruptl
y took up a story that he once gave to them ten. But better than that, do not co
me up. This - is the one that is necessary. In a strong dramatic story has alway
s faced extreme: life and death, honor and betrayal, wealth and poverty
one despair and hope. The closer to the stinking breath of hell kuscham angelic
heaven, the denser they are closed in the story, the deeper drama pierces the so
ul of the viewer. The collision of contrasts poetic power of drama lies. This st
ory makes not looking to dig into the text. And the author's ideas get stuck in
your heart. It's a story underlies the "Resurrection." It turns out that he was
a poet, Tolstoy drama? And how! That's what a genius.
And what did he then not shared with Shakespeare? Forget. He does not play any r
ole. Much more important is that we have discovered:
in the drama are universal laws for all, including the geniuses even such differ
ent as Tolstoy and Shakespeare. (Present company excepted!)
For the correctness still Depress the question: what happened between Tolstoy an
d Shakespeare? My opinion is: inventing a story that will grab the audience by t
he throat, Tolstoy made the right, but the first
step. If it is a story austere play at the Art Theatre of those times, the Stani
slavski, the great director and genius of truth, he jumped from his chair and ye
ll at the whole theater, "Do not believe it!" Or maybe even drop a heart attack.

The circuit is really tough. And it is necessary not only to simpletons, but als
o the most demanding viewers believe everything seen the light of truth, and fel
l to his knees, crying, "I have sinned! Forgive me, Lord! "
Speaking terms of drama, the audience should experience a catharsis - purificati
on through compassion the misfortunes of others. To do this, melodramatic fictio
n turned into a quivering life.
Meeting this challenge will require long months of continuous work, it will abso
rb the thousands of small ideas and discoveries.
Amateur believes that emotional experience achieved in documentary facts of life
. If so, then you have to read the newspapers and weep. There's a cool facts. Bu
t somehow no one was crying. Because the facts of the drama - nothing. The main
thing - how we work with these facts. This is what we are going to do.
Tolstoy initial plan developed to a great novel-movie, filmed once and forever.
In his film, he does everything himself. He is a writer and director, cameraman
and artist. And all the characters from the most minor to major, flickering on t
he horizon, spiritualized and born only of his talent.
But Shakespeare is believed that it is necessary to develop a plan so poetically
, to the heart of the history of pulsating life and inspired artists to co-creat
ion. His plays - an energy cluster, the heart of the film or play.
Anna Karenina can be only one. You're looking at a star in that role and say, "I
do not like!" Because Tolstoy created it in the novel as a living, very accurat
ely.
And Hamlet can be a thousand, and all different. Even women have played Hamlet such as Sarah Bernhardt. Hamlet - the heart of the character of genius, the bri
lliant energy charge role. Two completely different outcome in the creation of h
istory - Shakespeare and Tolstoy. But both came from the universal laws of drama
opened by Aristotle (we'll talk about them).
"Heart of History" - a figurative expression. It - the emotional center of the s
tructure of the drama. Each drama is rigidly constructed the skeleton structure.
This fact - a big disappointment for the fans of free flight of poetic fancy.
Structure - is the basis of every drama, from the ancient Greeks to the present
day. It monitors the development of the emotions of spectators to the greatest e
xtent possible. And you know from personal experience that no other art can insp
ire and excite you for half an hour as a good movie or a play. In the heart of t
he heart beats of history, born playwright and director.
So the first piece of advice: start as Shakespeare, and completed as Leo Tolstoy
. In other words, start the story, which beats cardiogram between hope and despa
ir. And ends the film with the utmost care in every detail.
Pretty advice. It is necessary to clarify how it is - to become Shakespeare? Hon
estly. Shakespeare you will not. Too thick. But you understand the laws by which
the chaotic energy of life turns into a slender building drama.
The drama takes place much creative intuition. Many, but note not all. There are
rules that do not stifle the imagination, and, for
trafficking, liberate it. Terms of drama elevate your intuition in a clear sky c
reativity, give you wings and point the way to the goal.
COLLECTIVE Leo Tolstoy
Any work - a dialogue with the world of the artist. It is on one side, all the o
ther - on the other. Single artist before his canvas, the composer at the piano,
the writer - to a sheet of paper or computer.
And we have always a lot of drama. In the theater, maybe not so much - a dozen o
r two. And in a movie ?! It's just a Babylon! Look at the end of any film in the
long line of titles - it's all one team. You can not take a step without her.
The most versatile genius of the movie - Chaplin, he was a producer, writer, dir
ector, star, actor, composer, editor, and certainly somebody else. At least we k
now that he loved the evenings to teach young actresses, ie was a great teacher.
But with him on the set worked as a team - the operator, assistants, sound engi
neers, and many others.
Orson Welles - another wagon. He had no money for the movies, all his life he wa
s looking for them. One day, laboring lectures, he arrived in a provincial unive
rsity and spoke to a half-empty hall: "Ladies

and gentlemen! I am a famous film director, theater director and radiorezhisser.

I'm a writer: I write scripts and plays; I'm an actor - play major roles in fil
m and theater. And I do not understand why I was here so much and have so little
. "
To build audiences for the film, we need agents and distributors, directors of c
inema, TV hosts, lawyers ... If you still remember them in the credits, the musi
cal accompaniment for string names will need a three-verse song.
The director is quite enough of his team. How can it inspire?
I believe in the positive experience of friendship. But in the movie, alas, it i
s not always the norm. Too bright personality connected a common cause, and too
different.
At a premiere I saw the usual, generally picture: director and writer joined han
ds, raised them up and smiling in all directions, bowing to the audience cheerin
g.
- Happy - I said a neighbor. - They have everything: talent, success, friendship
.
- Yes?Now let's go to a banquet, followed by the number of times one of them wil
l come to the next. I know exactly how many. I bet.
- How much? - I asked.
- Never ...
- You're kidding ...
- Yes. One of them told me about something else: "They say that I hate him. What
nonsense!How can you hate a person who deserves only one thing - contempt ?! I
struggle with the desire not to hit him. No! No!I fight only with nausea. The on
ly thing that consoles me is that I have to throw up on him. However, he did not
even notice. Because he is vomiting ... All of his ideas have been someone once
eaten and digested. " And so on. And now once again look at their smiles.
The gloomy picture? Of course.Something I confess I exaggerated. But not too muc
h.
Once upon a time I was a student of VGIK. To us he came to visit the famous writ
er Andre Spaak. Worked with him famous directors, he had successful films.
It seemed to us a stranger from some transcendental world where the stars shine
and the people swimming in a pool of success. But the writer was sad, shared his
experience of failure and eventually gave up, "Oh, the movie is generally this
type of cooperation, where each subsequent erases traces of the previous." My me
mory may fail, but, in my opinion, he quoted the words of his friend Cesare Dzav
attini. If the founder of neo-realism, the sacred cow of Italian cinema, Cesare
Dzavattini and prosperous European writer thought the same thing, then, for this
is a lot of ground.
This negative description of a total way, where all participants belong to the f
ilm as part of his personality as for self-expression. "Why are you mutilated my
baby ?!" - says one another. And everyone is sure that the child is his.
Among beginners is often a powerful creator of one stereotype - "genius" who wan
ts to control every last detail. He curses the stupid staff gets back sullen loo
ks and that sad, heart attacks and nervous breakdowns. Sometimes they do a good
movie.
But more, much more great outcome occurs when a lot of happy people can honestly
congratulate each other at the premiere, and everyone has the right to say, at
least to his wife or girlfriend, "This is my movie!" Well, the director is, of c
ourse, knows that it is his film.
But this applies to professional outcome. Sometimes both. Once I was shooting a
movie in Africa, Uganda, and saw a picture: a herd of monkeys ran into a tangeri
ne tree. Monkeys grabbed tangerines nadkusyvali and discarded, grabbing new nadk
usyvali and discarded. It seemed to them that the next sweeter. A few minutes la
ter a pack fell and ran away. Under the deserted tree lay a bunch of tangerines
bitten. It reminds me of a flock of ignorant action "genius" - as it is destruct
ive.
Amateur grabs everything and nothing can bring to mind.
But there is in the art of something that seems to stand outside literacy. "Fres
h Blood", the intuition of a new generation, the belief that you can say somethi

ng new. It can not be done without professional control over the creation of the
film.
The problem of generation of directors formulated Fellini:
"Director - Columbus is on the ship. He wants to discover America, and the team
wants to go home. " How to inspire sailors? This is a big deal.
The minimum you should know that only you control. Profession - this is the abil
ity to keep something under control. Not all, but most importantly. On this occa
sion, the director and writer, whose intelligence I admire David Mammet told the
students in the first lecture:
- The director should do three things:
1). It is necessary to specify the actor what his actions.
2). We have to show the operator where to put the camera.
3). After this you should smile. Cool said.
1. Determine the action actor, developing your plan of the stage, but not contro
l his emotions. Emotions - a territory actor, his talent, his freedom. Help the
actor to develop his emotions in action.
2. Show the operator the point of view, say that you want to receive
- Threat, happiness, cold - and he will shine its light their magical skills.
3. Everyone should be sure: Columbus knows how to swim to America, so smile and
encouraging.
But if you think about it, it's advice that it is easier to give than to perform
. He needs the experience of craft.
A similar advice, but honestly, gave to young writers Isaac Babel:
- The writer on the shelf should be few books. Only ten or fifteen.
- What? - Yelling young writers.
- Oh! To do this, read thousands of books.
In other words, no advice will exclude the path of personal experience.
Let us return to Fellini. You are on a ship, a hand on the wheel, and you smile
sailors. It's not enough. In the film, not just actors, but all employees should
receive your role. What does it mean?
Once in his younger years, I was invited to film the legendary sound engineer. H
e came, but does not do anything heroic. And I say, Rolan Bykov, who advised him
: "What does this all say Rabinowitz! Rabinovich! Same extinct, like everybody e
lse ". But Roland says:
"Sasha, you lit it? The role he has written? What is it to play on your team? "
Write to staff roles. Give them the opportunity to discover their talents. Every
one wants his work to help the great project.
There is an example and abruptly. Vadim Yusov - undoubtedly the best operators
tor of a generation. Venice Film Festival awarded him the prize for best cinemat
ography. He has many other awards. But did you know that in his youth after six
years of work at "Mosfilm" was fired from the studio of hopelessness and lack of
abilities? At this point Andrei Tarkovsky called him, and talent Yusova dazzlin
g fireworks exploded in "Ivan's Childhood" and "Andrei Rublev." Poor talent craf
tsmen "Mosfilm" could not give Yusov role in his talent. He died in the stifling
atmosphere of mediocrity. But Tarkovsky put an impossible task, and found Yusov
extraordinary clarity of the solution. I started with them and I am sure: no Yu
sova talent Tarkovsky would have other dimensions.
Jean Vilar, the French reformer of the theater, said: "In the theater, a group o
f associates can replace the genius. " Cinema - art is more authoritarian than t
heater, but the thesis Vilar acts.
Let us remember: at the beginning of the path in your hand beats the heart of Sh
akespeare's history. And in the end - a huge collective Leo Tolstoy, having over
come all storms, is a port "movie premiere."
Great shade spoke. Received farewell. Now, to business.
Engagement strategy
AUDIENCE AND FILM
Try to sit down for half an hour in front of a wall and looking at it, concentra
te on one thing, which is important for you. It will not work, you start pretty
quickly distracted, bored and feel a compulsion. This is what happens in the fil
m that you are uninteresting. One does not tend to just go into a state of prolo

nged concentration.
But the filmmakers must be just that. The audience has to immerse themselves in
the film.
Amateur problem completely absorbed expression. A professional thinking on how t
o seize the audience's attention. If we want to lead the audience in the right d
irection, we have to think about it. Half an hour the audience is sitting in a d
ark room, and if it has not been taken care of, attention to each viewer will wi
ther. You will lose viewers.
The film is due to report something that is continuously increases interest of t
he audience, so that in the final, he peaked. Then the audience happy.
The story we tell is to have an energy charging ing audience. In a well-told sto
ries energy increases and is transmitted to the audience. If you're lucky, in th
e climax, they forget everything. In a state of maximum internal energy of the a
udience can reach the summit of happiness bestowed art - catharsis. But we can n
ot rely on luck, intuition. We need to calculate the energy and structure of eng
agement.
Well told film - is, above all, the machine is also producing and emitting energ
y in the room, an unheard-of energy, forcing millions to worry, crying and laugh
ing. The strategy of the professional story is largely - plan that increases thi
s energy. You can use this knowledge to any degree of freedom. But if you are il
literate, Entertainment reject you with friendly scorn, as is the case currently
with Russian films in worldwide box office: virtually none of our films on the
wide screen world.
Meanwhile, the literacy was characteristic Russian art, not mass, and most elite
. The novels of Tolstoy and Dostoevsky devoured the entire world. In Chekhov's p
lays in the first productions of Stanislavsky's Moscow youth weeks to stand in q
ueues thousandths. Once in America, the Moscow Art Theatre, not only stunned the
audience and professionals, but also laid the foundation for what today has pro
vided American show business dominance throughout the world. The Americans do no
t hide. These well-known facts for some reason, decided to treat the exception
significantly as the magic of high art. Oh, no! Tolstoy, Chekhov and Stanislavsk
y were artists on the market. The ideology of contact with the audience was a na
tural part of their artistic life. They did not imagine creativity without power
over the audience. It is a tradition of world culture.
"Hamlet", in addition to all the depths of the philosophical understanding of th
e essence of being, even a detective thriller with intrigue, murder, poisoning a
nd a bunch of corpses in the final. '' Macbeth "- is not only a tragic epic, but
a mystical thriller with ghosts, witches, spirits and revived its head cut off.
And the" Resurrection "by Leo Tolstoy - not only the most overt social criticis
m of society, but the romance of the graph, seducer of innocent girls. Because,
in the words of George Bernard Shaw, "We do not choose the path that offers the
least resistance to us, and one that provides the greatest benefit."
The biggest advantage is the drama when it makes the most of the opportunity to
arouse the emotions of viewers. The viewer comes to us as cold as a dog's nose,
loaded problems. We have to knock him out of his world and plunge into ours. To
do this, we need to initiate it emotions emyutsii maintain and develop emotions
to the maximum extent.
FIRST STEP. CURIOSITY - GATES OF LOVE
Once upon a time, before the war, at the Gorky Studios filmed one of the first s
ound film, "How Ivan Ivanovich quarreled with Ivan Nikiforovich." In the story o
f the pig it was to run through a long maze of corridors in the department, to s
natch from the hands of the official paper and eat it.
The task seemed impossible. Pig is not a dog - how to teach tricks? Of course, t
he legendary trainer was called all sorts of living creatures, including pigs Durov. He twisted a staggering amount - it seems 700 rubles. At that time someth
ing unprecedented. The director of the film says:
- That's impossible! The director yells:
- It's art! For Gogol!
Do not cover the same movie ... And the director promised to pay. In addition, D
urov demanded 5 pigs doubles, two boxes of jam and boxes of brandy. After this I

went on for two months, and asked me not to bother.

A week before filming director went to the circus to see how things are going. D
urov calms: everything will be fine. Brandy is necessary to add the one that gav
e the whole used. Add another box of cognac. On the eve of filming the director
sends the administrator of the machine for pigs. But in the paddock at the Durov
, only one pig.
- Where are the others? The simple watchman says:
- Ate.
- Where's the brandy?
- Drunk.
Director shaking with fear - really shooting goes wrong? They brought to the stu
dio only pig and put valuable animal in the director's office. From it all now d
epends.
On the day of the shooting appears Durov. No special tools he has no - no whips,
no poles with hooks. Says:
- Show me where the pig run. The director explains:
- Here is our scenery. So it will look like mise en scene: the pig out of here,
go down the hall, turn, turn again, this desk officer. Hence, it should take a p
iece of important paper, eat it and run back. How many days do you need to prepa
re this staging?
- Days? - Surprised Durov. - All at once we take off.
- You're probably better to rehearse without electricity, the animal used to the
new atmosphere? - Asks the operator.
- No, I have all rehearsed. Light the lights, turn on the camera. Pig will do.
- A test shoot you do not need?
- No samples. All done at once.
The operator sets the light. Durov with a pig waiting. Everything is ready to sh
oot, the band tightened, director validol sucks. Durov gets out of the portfolio
jar of jam and smears jam floor, through a meter and a half - the whole future
path of the pig. Then smears jam the lower edge of an important paper and puts i
t on the table. After that says:
- We are ready!
Pig stiffened, her snout twitches and trembles. She is torn from his hands.
Directed commands:
- Action! Go!
Durov produces pig. She runs down the hall, on the run from the floor licking th
e jam. He runs up to the table where the official is holding an important paper,
grabs it, runs back and eats. All filmed.
- Another double can be removed? - Asks the director.
- At least ten - meets Durov. - While not a pig feels full of jam. And then the
director of the film has broken through:
- You are a liar! You do not have any five pigs or brandy! I'm not going to pay
big money for such a simple trick!
- Goodbye! - Says Durov. - You have seen everything. The second double shoot you
rself - here's a pig that's jam.
And go. Pig grunts. People are confused. The director yells:
- Return Durov! Surely he has a secret! It can not be all that easy to work!
Durov returned. Sorry. To pay the full fee. He makes five doubles - one to one.
Involving the audience into the world of your story has the same simple solution
. All the way to the audience smear jam. And the pig would run wherever you want
. Varenna is the information that satisfies curiosity. It should be divided into
smaller portions - and in a way. Some intellectuals are shocked at this coarse
joke. Read Sigmund Freud and Carl Gustav Jung. Where they say on the remuneratio
n to be received by viewers and readers for their emotional force.
We must also share all the information we possess, into small pieces. 1 bit = 1
drop of information, stimulating effect.
On a superficial level, it is simple. The stupidest TV program where you have to
guess the word letter by letter, attracts the attention of millions. Why is tha
t?Man curious. He has a sense of symmetry - he wants to know everything otgadku
mystery.

Curiosity - the first level of interest. Who killed this respectable lady? Why i
s it the butler twitches and sweats during the interrogation by the police? At t
hat time she made her charming niece with her boyfriend in the bedroom in the at
tic? Why not barking dog?
The film asks the audience questions, we drop tsedim answers. Each answer contai
ns a new question. C so by controlling the information, we can keep the audience
's attention. Question - Answer the question - answer ... Audiences like pieces
of information constitute the whole picture.
Curiosity makes us all look like to discover something closed. There are some si
mple rules as to kindle interest of the audience, telling the story.
1. Provide information in small portions.
2. Each time inform smaller than the audience wants to know. As long as you cont
rol the information you are master of the situation.
3. Most tidbits of information Conceal until the end.
4. Do not just inform, make the characters to fight for every drop of informatio
n. The more labor will be invested in the search for information, the more valua
ble it is for the audience,
In the movie "The epidemic of" complete annihilation threatened the city, affect
ed by the epidemic. US President himself ordered the city to lose the atomic bom
b, to prevent the development of the epidemic in the country. But at this point,
scientists figured out that somewhere nearby is someone, an animal whose blood
is a vaccine. Scientists are looking for salvation.
First step. Colonel Daniels (played by Dustin Hoffman) deceit seizes helicopter.
Under the threat of murder, he takes off for San Francisco.
There, he also difficult, are in the list of ships to unload in the port, one do
es not pass the proper control. The ship was back in the sea.
Daniels knows where he is at the moment, and flies to the ship. By the sea mist.
Find the ship difficult. But Daniels finds the ship and risk their lives jumpin
g from a helicopter onto the deck.
On the ship, overcoming difficulties, he finds a photograph of the monkey, penet
rated into America without quarantine.
Please note - the entire process of obtaining information is divided into the sm
allest particles-bits. And each part gets a hero with great difficulty. What the
authors are making it? The fact that viewers are introduced to the history, the
y want to know how it all turns. This process occurs with increasing drama.
Daniels with arms breaks on TV and demands that it immediately gave the ether. I
t displays the photo and monkeys. People who have seen it, know the animal.
Now it is necessary to remove the monkey from the forest. It offers us new chall
enges. Meanwhile, the enemies want to destroy Daniels.
When he finally got the monkey and carries it to the laboratory on a small helic
opter, being chased two huge military helicopters.
See:
- Episodes in the laboratory,
- At the military base,
- In a helicopter,
- Marine management in the office,
- In the fog over the sea,
- On the ship,
- On television,
- In the woods,
- In the mountains, where there is a hunt for a helicopter Daniels.
Everything just to find and deliver to a laboratory monkey.
Details of each episode concise, visually obtained with difficulty, through conf
lict and danger. All this is to limit inflames our curiosity.
In submitting the information most important moments of a turning point, when th
e breath of new information turns the whole story in an unexpected new direction
. Such rotations determine the class of history. The unusual turns, the fun stor
ies.
That tape adventure play secret information, it is not surprising. But serious m
ovies, you say, do not stoop to the little secrets and speculative delays. You t

hink so?
Hero Jack Nicholson - Mack Murphy in "Cuckoo" gets to a psychiatric prison hospi
tal. For half an hour of the film takes place a month of real time. It would see
m that Mack Murphy should know about the hospital a hundred times more than we d
o. Nothing like this. Why is that?Because the director wants the audience, learn
ing a new drop by drop, strained all their attention. Mack Murphy suddenly finds
out that he is an eternal prisoner of the hospital: the period of compulsory tr
eatment it is unlimited. So, goodbye freedom? This stunning news he received one
week before the end of his prison term. Directed by squeezing maximum informati
on from emotions. In a bad story writers rushed to announce this important news.
But a skilled storyteller save up tidbits to use them sharply to turn history.
STEP TWO - Empathy
I GAMLET- IT
Next, a deeper level of emotional involvement in the dramatic story - empathy. I
t grows out of curiosity.
It arises from the audience when the characters are close and clear it when the
audience have shared moral values ??with the characters. Empathy creates identit
y. We kind of live and act together with the hero, are going through with it, it
becomes a problem, we close and clear, we wish his victory over the enemy.
This level, as it were as clear. But it is worth noting that the identification
is largely on a subconscious level. The collective unconscious of our "I" prompt
s us to feel empathy and care about the characters that are clear and close to u
s, have shared with us moral values.
On this subject, written by the brilliant psychological works, for example, the
German scientist Carl Jung. But even without a clear philosophy: clearer than th
e character, the more clear it worries and problems. Among the rigid rules "well
-told stories" is this: first show attractive qualities of the hero, help the au
dience to love him or to experience empathy, and only then pay attention to the
audience its shortcomings.
You have shown the script editor. He praised it, and at the end said: '' But I d
o not feel able to identify themselves with the hero ... "Forget about complimen
ts - your script hacked on the vine. Would you have left another heroine. The ed
itor knows identification - it trump history, because it determines whether the
emotions will get the audience a chance to develop or harden all at the point of
mere curiosity.
What could be farther from us than the problem of medieval boys, and even a prin
ce? He returned from abroad, interrupted the course of study, as my father died.
We would his care ... And suddenly it turns out that his father is not dead, an
d killed. Not someone, and uncle. A mother sleeping with a murderer in the same
bed. Friends betray bride with a mad, can not decide to love her prince ... or b
etray the shadow of his father Prince says - avenge me. A Prince wants to solve
this problem in a new way - to gather evidence, ascertaining guilt. Oh, how he d
id not want to take up the sword of revenge! Therefore But the world
Dirt in the betrayal and evil. Someone has to take the side of light and goodnes
s.
- If not me, then who ?! - We speak with Hamlet. What will this guy? What intere
sts us is not exhausted curiosity. We are on his side. Around us similar problem
s. Centuries have passed, and the air was cleansed from the lies, betrayal, bloo
d. We empathize with Hamlet, and our lives become richer by several centuries of
cultural contact.
There is a surefire way to arouse our sympathy to the character: to put it in a
dramatic situation. On afflict human misery that is stronger than the possibilit
ies of his character - we automatically empathize with him. This is against our
will. So our body is programmed: if someone is under stress, our brain action cu
rrents arise similar stress. It is a scientifically proven fact. Now go ahead from empathy and identification to the suspense.
STEP THREE - Suspense
Suspense - this is the moment in which the involvement of the audience in the fi
lm is most complete.
Suspense - this is purely an English word. Language Experts say

"Voltage" - is inaccurate and incomplete translation. More precisely it means "b

usy waiting unbearable."
Suspense occurs when danger threatens characters who the audience empathizes. Wh
en death threatens good guy, which we loved. How much of this is contained in a
good suspense film? Today, 95% of the current repertoire of films - is suspense,
pure suspense, and nothing but the suspense. Suspense subjugated all the other
elements of the film language. So it would be nice to understand this energy ini
tiator of the film. All the more so for the Russian literary and cinematic tradi
tion, until recently, he was not organic.
Suspense - is the reaction of the audience to what is happening here and now. It
occurs when the audience and the characters have a moral community, if the audi
ence and the nature of the same emotional charge (he was afraid, and I fear for
him; he wants to find the killer, and I want to find the killer). If the audienc
e cares the hero - that he did not die, did not suffer a defeat - there is suspe
nse.
Suspense - it is an emotional reaction, this excitement, anxiety, worry, despair
, fear ... At the same time curiosity, it is a category of intellectual, pushing
you to learn what happens to the hero in the next second. And you are being int
roduced to the history and the intellect and emotions to the fullest extent.
So:
Step 1 - curiosity
Step 2 - empathy,
Step 3 - suspense.
Suspense - it is something like the exam, which is held before the audience the
constructive elements of the structure. If the dramatic situation is good, it cr
eates suspense. If the drama develops properly developed - you will get everythi
ng we wanted, plus the suspense in the development. If the event is properly exp
osed the conflict, suspense will grow with the threat of the hero and unexpected
turns of action.
The director, who coined the term "suspense" - Alfred Hitchcock. He called suspe
nse "the most intense representation of the dramatic situation that is possible.
" Hitchcock told me that when he started making films while still an unknown dir
ector, he thought: "What would make all the stars wanted to appear in my films?
It is necessary to entice their history, in which there is something mysterious
and disturbing, it is necessary to awaken in them a sense. " That's what brings
the story to the suspense.
Hitchcock once said French director Truffaut:
-When I write stories, I was most concerned about are not characters, and stairs
that creak.
- What it is? - Asked Truffaut.
- Stairs that creak and may collapse under the hero. I call this "suspense".
The hero goes somewhere, and we know that the ladder beneath him to file a villa
in and could collapse at any moment. That is, we know more than a hero, and worr
ied for him. Guess he? It will have time to pass a dangerous path? It is the mos
t active suspense.
The sister of the dead girl secretly enters the house where the murder took plac
e. She does not know that the killer is hiding in the house now. And we know it.
It is a situation of "Psycho." Suspense.
What to Hitchcock nobody knew about suspense? It can not be. Shakespeare knew ab
out art all the drama and used everything and, of course, suspense. And that is
where he is supposed to be - in the moment of greatest tension.
Romeo, after learning of the death of Juliet rushes to her grave. He does not kn
ow that Juliet just seems dead. And we know it and are full of despair and compa
ssion for Romeo when he dies next to his beloved a moment before its revival.
The first impression of suspense I got a child in a children's theater. Zainka a
buxom female impersonator jump on the stage and said:
- What a beautiful house! In it, I'll hide from the fox. There, she will not eat
me!
Hare does not see that Fox is already perched on the roof and maliciously klatsa
t teeth. And the audience in the hall see and experience. They are for the hare,

the moral unity with him. The girl in the front row, putting her palm to her mo
uth, suggests the hare:
- Bunny, do not go into the house. On the roof is hiding fox! But the bunny does
not hear. He jumps on stage and sings a song about a beautiful house he had fou
nd in the forest. Then the number of the fifth pair of boys has loudly warned:
- Hey, Bunny! Look up! On the roof!
But the bunny does not hear. Now he will go into the house, I have grasped the d
oorknob. And then next to me jumped up from their seats, freckled boy of about e
ight, with two teeth on the third, and yells at the whole hall:
- Hey, oblique, bitch, channel! Fox on the roof !!
That is the suspense. The hero is in danger. We know more than he does, and worr
ied for him. It is open suspense.
But there is also an indoor suspense. We know that the danger exists, but do not
know where she was hiding, and the hero does not know. He must get to the goal,
but could defeat enemies?
This, for example, is the suspense of football. We want to make a noble and favo
rite team is the good guys, for which we are ill, won the championship. And she
prevent villains from a hostile team, which conundertook the bad guys. How much blood spilled, many fights and injuries! All be
cause the suspense leads viewers into a state of extreme excitement. It is - inc
redible power generator spectators.
Michael Corleone went alone into the enemy camp to punish the murderers of his f
ather. We know that in the toilet of the restaurant to hide the gun, which he mu
st use. A murderer does not know. How to turn an event?
Michael Corleone found a gun hidden behind the toilet cistern. Now he shot kille
rs. They have something to tell him, he says, the last time makes sure that only
by killing enemies, to save the life of his father. But we are concerned not wo
rds, but football this scene. As Michael score his two goals in the heads of ene
mies? Together with Michael go through dangers, threats and complete unpredictab
ility. One can not assume that will happen in the next moment. The threat of act
s here and now. The enemies are stronger than the hero. But he has to win! We do
want it! This suspense.
A little earlier unarmed father Michael visited the wounded in hospital and foun
d that the father is helpless, disarmed. That's the killer will come to him. Mic
hael picks up his coat collar, puts his hands in his pockets, he looks like an a
rmed guard. But we know that he is defenseless and unarmed. The enemies do not k
now. How did he get out of this situation? At such moments, the film captures an
d literally pulls us into the screen. We are there, in the body of beloved Micha
el, we cheer for him as for myself. All this makes us suspense.
Secret lovers happy in each other's arms. They do not know that the heroine's hu
sband interrupted his absences, it is close ... close ... he puts the key in the
door. The situation of the joke? No, we are not laughing, we tightened. This su
spense. He throws the heroine us from happiness to despair.
Hero in the enemy's office looking for important documents. A security guard at
this time examining room. The suspense is revealed in action.
Little Red Riding Hood goes through the woods to grandmother. A wolf because tre
es watching her, chattering teeth, - suspense. Children's eyes lit with exciteme
nt. Grandmother in a cap under a blanket Little Red Riding Hood meets. She does
not know that this is not a grandmother and a wolf. And the children know, and t
remble with fear, and desire to know what will happen next. This suspense.
The legendary success of "17 Moments of Spring" did suspense - the hero all the
time in the center of the danger, it is incredibly superior forces. We believe i
n him, love him, fear him. The stronger the enemy, the more suspense.
Suspense - a threat when the pursuer is breathing in the back - one wrong move a
nd you're dead. The threat by phone from another city to the viewer carries a mu
ch smaller charge suspense. Tornado on the horizon -lyubopytno, not more. If a t
ornado rips off the roof of the hero, you get a good suspense.
The lower the chances of rescue, the more suspense. You can plan the growth of s
uspense, reinforcing an alternative factor in the dramatic situation of the hero
. Suspense - adjustment factor.

You wince: ah, how primitive! No!Suspense - it is something that is at the heart
of the poetics of cinema. All the rules and conventions of film language operat
e it with the utmost conviction.
The magic of Eisenstein
Suspense compress or expand time at our request. Hitchcock warns at a key moment
of suspense time must be stretched. Every second can last at least ten times lo
nger. This helps the audience emotionally involved.
How does it work?We stretch the time of installation, showing the same moment fr
om different points of view. Hitchcock such scenes in almost every film.
But the first time we've seen it's not Hitchcock. It showed in the famous scene
Eisenstein "shooting on the Odessa steps" in the film "Battleship" Potemkin. "Th
ere were a few moments of time is stretched to 5-6 minutes due to the fact that
the shooting was broadcast simultaneously from different points of view. In addi
tion, there were involved and conditional space. The real staircase in 10-12 tim
es shorter than its image on the screen.
So, not only the entertainment industry uses aggressive elements of film languag
e. In fact there is no such boundary, the boundary between art and entertainment
.
Conditional, stretched time I have used many times in the movie "Crew". For exam
ple, in an episode of the earthquake, when the plane hurtling on fire lane. The
screen to install it looks 10 times longer than it is supposed to be at the tech
nological truth. Nobody notices that the aircraft rolled about twenty kilometers
on the road, covered with fire, explosions, floods, and all that can come into
the inflamed head director, first greedily to the disaster on the screen. I said
stop, it is contrary to common sense, you spend days removing frames that still
will be in the basket. "Odessa Steps" longer than I thought, and no mistake: It
's up to the last shot went into the final cut.
But more surprising, in this sense, the episode, when the avalanche of burning o
il rolls from the mountain on the airfield. Judging by the fact that the episode
lasts 5-6 minutes, the mountain is not difficult to figure out, should be the h
eight of 10-15 kilometers. But that no one comes to mind. Not to mention such an
obvious thing that the oil can not roll with the high mountains, because it is
extracted from the bottom of ancient seas.
If I shot the usual dramatic scene, certainly any consultant would say: "Why are
your oil storage so high?" But thanks to the suspense rushing from the mountain
fire looks like a cruel murderer and an enemy that threatens the hero's death.
Spectator
Teli worried, they want to be saved or won heroes. Other unimportant.
Hero in suspense operates on the "principle of hunting." He catches up and runs
away. When he is catching up with him, like a greyhound, running one -dognat gyr
us. If you run away, the actions of others, but also lonely gyrus - to escape fr
om the wolf.
"The principle of hunting" - the great stereotype of the entertainment industry.
In "Terminator 1" 19 key scenes are made on the basis of hunting. And it's not
boring and never get bored. Thousands and thousands of hunting we have seen and
as many more look. Who is the founder? Hitchcock? Certainly not! Shakespeare use
d the idea before him.
Remember the "Mousetrap"? Hunt for the king, who came up with Hamlet to pull out
his secret: the recognition of the murder of King Hamlet -ottsa. The most power
ful scene of the play, the most ambitious. Someone who knew the power of Shakesp
eare and laconic. But he also knew the force of suspense, though that term did n
ot yet exist.
Suspense or surprise
Typically, in a tense stage director chooses to submit information to the viewer
- with the help of surprise or suspense using.
For example, the two talk, and under the table ticking time bomb. To impress the
audience, the director concealing information about the bomb. The two make plan
s for a happy life, and suddenly an explosion scattered them. No one, including
the audience, this is not expected. And we are in amazement. But this is only on
e moment of emotion.

And if we know in advance that a bomb underneath the table? Heroes do not know t
hey are reaping now and dance, then go up to the room.
They think that they are waiting for a night of love. But we know more of them:
they were a matter of minutes. The mechanism is ticking, and we worry more and m
ore. This suspense. It operates cooler, but he opposed the surprise, as we know
more characters.
The greatest effect of the directors seeking, combining suspense and surprise.
I remember the first viewing of the film "Jaws", a long time ago, back in the se
venties. Hunters under the water looking for the basking shark. She reversal iro
n cage in which there was a hunter of sharks. Sam Hunter disappeared. His friend
s carefully peering into a frightening gloom. And suddenly we have bitten off th
e head rolls. All the women in the audience screamed in unison with fear.
Suspense requires that had created an atmosphere of anxiety, and he helps to cre
ate this atmosphere. Viewers love these moments. "Make people laugh, to frighten
and cause the tears of compassion - this movie does best," - said the great mas
ter of suspense Spielberg.
If you believe Hitchcock, suspense distinguishes the neglect of the reliability
of the story. What is important is the emotional involvement of the audience in
the action. Will you spend time on the reliability argument in the story, there
may be an emotional hole. Much more important for the audience emotional integri
ty, a steady increase in excitement. Suspense is to charge viewers of energy - t
his is important.
Hitchcock talked about it like this: "It is ridiculous to demand from the histor
y of reliability. Piece of life - this is what you can get for free in front of
the theater. And the drama - that's life, from which cut out all the boring. The
only problem is that you put the camera, this is the maximum force of the impact of the frame. Everything must be sacrifi
ced to the action. History should be an incredible, dramatic and humanity. "Of c
ourse, these statements should be understood in the framework of the poetics of
cinema. The behavior of actors in every moment is certainly true. Wednesday, whi
ch surrounds the action is certainly true. But time and space are relative. They
are going to film editing in reality art product.
Hitchcock well knew how to identify the power of cameras in suspense, because it
is the logic of the camera is the story of when the screen suspense.
It is generally believed that the suspense - it is a tool of films of violence a
nd aggression. And what about the "Godfather"? Or with "Terminator 1"? This film
- the legend of how the modern Virgin Mary conceived the new savior of mankind.
Modern myth contained in the genre fiction thriller. I think that such films wi
ll comprise the mythology of the XX century.
Do you want to know about the very first suspense? For this we must remember the
ancient Greek tragedy "Oedipus". At the beginning of Oedipus wants to save the
city from the plague. However, collecting information, he finds out that he is t
he culprit of the epidemic, since killed his father and married his mother witho
ut knowing anything about the evil fate that doomed it to do so. Now relax and h
ave fun. Pretty cool, even for today's movies.
So help yourself feel free. This aggressive elements of drama, at least two and
a half thousand years. He removed from the heart of the drama - the ancient Gree
k tragedy.
PART TWO. ELEMENTS ENERGY FILM
Dramatic situation
Choose from a hopeless situation
Literature examines the infinite variety of manifestations of human activity: dr
eam, behold, making plans, feel the subtle flavors of life intersects in the ima
gination of the Millennium and the vast space.
Of all types of human activity drama are primarily interested in what is happeni
ng here and now in a dramatic situation. What is 'here' and 'now', no need to ex
plain. And what is the "dramatic situation"? This position of the hero, when the
pressure surrounding circumstances stronger than the possible nature of the cha
racter. Simply put, when a person is in a hopeless situation. Only it really uni
tes all of the filmmakers. The stalemate here and now. This is called a "dramati

c situation".
She won an absolute victory over all other forms of human activity, although in
the literature there are more subtle and complex description of the processes of
the mysterious life of the soul. Take for example the "stream of consciousness"
in "Ulysses" Joyce. By comparison, the drama seems rough and primitive form of
display of the human soul. In prose, dreams and thoughts of the hero tightly fus
ed with his actions, memory instantly takes you back 20 years, to another countr
y, and then to
10 years ahead, in the imaginary world of the future. Finer Association weave wh
imsical pattern of your mind, it is not particularly limited. What can oppose th
is drama? Simple rough action here and now.
But the dramatic situation makes a person act, straining all its possibilities.
The character acts, because he has to find a way out of the dramatic situation i
n which hit. And he
must find the way immediately, otherwise it will be worse, really bad ...
All secret qualities of the soul are strained, swell and open for everyone to se
e. And this:
- Firstly, it stimulates the imagination of the author;
- Secondly, it stimulates the imagination of the director and the actors;
- Thirdly, it makes the audience forget everything, make sure that the character
s are chosen from hopeless situations.
In Akaky Bashmachkin - hero of the story "The Overcoat" -fully worn old overcoat
. Without his overcoat he gets sick and dies. Sew a new overcoat he can not pove
rty. What will he do?
The teenager had witnessed the murder, which involved large and ruthless force.
He would be killed if he did not help to solve the crime. What did he take? (Mov
ie '' Client ").
In the provincial town came Auditor. The governor of the city is sure - if the a
uditor becomes aware of illegalities, officials threaten irons Siberian penal se
rvitude. What will the officials?
The adjusted life New York Mafia came new people. They understand that they will
get what they want if they will kill the old Godfather - Don Corleone - and kil
l him ... No, he's still alive. What would take his children?
School teacher is afraid of everything in this world. He lives as it protects
-substituted holster. And suddenly this case is trying to destroy a loving creat
ure - woman, future wife ... that he will take in response?
Young landowner Dubrovsky lost all state. He became a thief, revenge scoundrels
and suddenly falls in love with the daughter of his sworn enemy. How will he act
?
Young and happy handsome Romeo fell in love with the beautiful Juliet. And she l
oves him. But their happiness is impossible. Families Montagues and Capulets - s
worn enemies. What will the love?
Homeless seamstress living in the dorm students, loves each of his patron, takes
care of him. And suddenly her favorite kicks her out of the house. But she has
nowhere to go ... ("Annie" by Chekhov.)
This list can be infinitely long, and each product is a clear osoderzhitsya dram
atic situation. She - a motor that drives all human relations. It makes not spec
ulate, and do things. It requires that the characters immediately, here and now,
before our eyes, solve their problems, they were selected out of the abyss into
which they are pushing dramatic situation. This applies equally to the tabloids
and high literature to the outstanding feats of the heroes of bestsellers and m
odest research recesses of the human soul invisible little people.
Authors popular techniques not stoop to explain why the situation is dramatic wo
rks steadily and reliably. Statistically, this works successfully, so it seems s
elf-evident. But for my students in Russia it was not self-evident. They are att
racted by the poetic contemplation of the life of the show, limp and sad moods o
f joy, or the chaos of life in the chaotic forms, or something else, deeply pers
onal. We all, and filmmakers and audiences, it is useful to understand why it wi
ll be better if we work with a dramatic situation.
Let's start with the end. How careless students, peeped in response to end of th

e book. The film has already been completed and in the movies. Look at the crowd
s that fill the halls of cinemas, - in Germany, France, America, it is. Why do n
ot we crowd into art galleries, do not sit up nights in the library - there is a
lso art? No!Every week we are going in the big hall. Extinguish the light, and w
e are a half or two hours sitting motionless, craning their necks to the flicker
ing screen fabric. What causes us to do that? Canadian psychologist Hans Selye s
ays we all need stress. Cinema meets this need.
Stress - is a brilliant invention of God. Ability to stress inherent in the prog
ram of each person. It provided what it once a weak, miserable, naked, became ki
ng of nature and built this world. Now we live in a civilized way flow of inform
ation among the invisible rays and waves. But it all started when people lived i
n forests and caves, surrounded by wild beasts who had to kill to survive. God c
ould not have imagined all the options reactions to danger. He came up with the
stress - the one and only universal reaction to the strengths of irritation, fea
r, aggression, joy, sorrow ... Scientists call this a "non-specific response of
the body." Once in the field of human attention there is something unusual, anxi
ety, danger to - his attention automatically mobilized. The organism is released
into the blood a huge shot of adrenaline, and for a brief moment his strength i
ncreased tenfold. He's getting stronger, running faster eye vigilantly sees and
hits the target, it will concentrate in a rage or fear. He rushes to the enemy a
s the hero, or running away from danger with surprising speed.
Stress reaction in all people on Earth are identical. It allowed people to unite
in flocks, tribes, peoples and survive. It is due to stress the ancient ancesto
r of every one of us could win the hunt to drag the carcass to the cave killed b
oar broil. At night, hugging his girlfriend, forgetting about the cold and fear.
He loved to give birth, grow
Children and, if lucky, do not die on the hunt, and surrounded by his children a
nd grandchildren in old age, completely worn bearded patriarch of years so to 25
. Stress exhausting and wearing all his organs.
We are now three times as warm, protected by laws, the adjusted measured life. S
cientists say that today we use only 5-7 per cent of our potential stress. But t
he program has not changed the body. The body needs stress. If we do not get ser
vings of stress we suffer distress or sluggish constant stress that wears out ou
r body creates diseases, neuroses and psychoses. Therefore, we are drawn in a si
tuation of stress.
What scientists have discovered, investigated moviegoers? It turns out that they
have in mind while watching movies there are weak biotoki stress. In hundreds,
maybe thousands of times weaker than the stress of reality. But this apparent st
ress healer. It gives us joy because it relieves stress, eases the soul allows y
ou to fight and win an imaginary pack of television series and refined Drum.
What is the best connects viewers to the screen? Man in a dramatic situation. Th
is is in addition to the consciousness. It is incorporated into the program of o
ur behavior. As soon as I see a person in trouble, I find myself in an imaginary
stress beside him and with him looking for a way out. Of course, what this man
to me closer and clearer, the connection is complete. But in practice, I connect
to each
home who are experiencing stress. My program works without the stress of my will
ful participation. It laid the herd instinct.
On the basis of this base and built all contact with the audience of the drama.
Stress - is the foundation of empathy for my characters in a dramatic situation.
If the characters are in a dramatic situation, I most fully identify with them.
To summarize. The dramatic situation is determined by three factors:
1. The person is in a hopeless situation.
2. The threat of this situation forces him to seek a way out.
3. He seeks out and enters the fight with an antagonist - with those who threate
n it.
It is not hard to guess that the dramatic situation - this is the beginning of t
he conflict.
The threat that forces act in a dramatic situation, called the alternative facto
r. It is expressed in the formula: "What would happen if the hero can not cope w

ith the danger?"

Romeo pure mischief goes to the ball, which suits the Capulet family, enemies of
his family. He was in danger. It would not be so terrible if Romeo had not seen
in the center of the hall of dazzling beauty Woman; He approached her and fell
in love .... It was like a thunderbolt. Now he's in the middle of danger.
This danger increases after Romeo learns that Dzhuletshe - the daughter of the worst enemy of the family of Montague. It kind of Capu
let. But no threat can not stop Romeo. At night, he despised the danger Juliet s
neaks into the garden. He knows that we love her, but lovers rendezvous threaten
s family feud. In the garden and on the balcony of a lot more dangerous than the
ball.
In the morning he was happy, he wants peace with the family of Juliet. But Tybal
t, Juliet's brother kills another Romeo - Mercutio. And Romeo kills Tybalt in re
sponse. Now he - the worst enemy of the Capulet family.
And so the whole play characters move from one dramatic situation right in the n
ext, even more dangerous.
In each situation, they are:
1. The bay.
2. Must find a way out.
3. Enter the fight with antagonists.
Shakespeare always increases risk factor increases the alternative, even though
this danger is not always present in explicit form. It acts as a suggestion to t
he director: to make a scene so that the audience held their breath.
At the ball carrier is a danger of Tybalt. In the garden of the danger it disapp
eared into the atmosphere. In any case, the author seems to be saying to the dir
ector: you get the right set of products, and banquet, please be talented.
If the dramatic situation is weak or absent, the current director can appear dan
gerous tyranny that Deplete
extending the overall design of the film. It's all starting to play their game.
Until this is often not good brings. The audience loses the sense that it leads
to a specific purpose.
The dramatic situation - is the core of any dramatic story and all of the inner
world of each character drama. Without dramatic situation the actors have nothin
g to do. Your tact and skill are made to determine the extent to which the drama
tic situation in the story is revealed. But the absence of a dramatic situation
accurately defines your professional helplessness.
All the stories that captivate us on the screen, developed by a dramatic situati
on to another. As soon as the hero get out of one, it immediately gets to the ne
xt, even more intense. And so all of a half hour.
The dramatic situation helps to guess what is hiding under the guise of a charac
ter. Drama - is in any case the art of explicit and implicit unmasking. Art aris
es at a time when a character, a closed protective mask, we're guessing the quiv
ering flesh of the living body. Once through the skin, we feel the heart and see
the reflection in the eyes of the soul, vyglyanuvshee from under the mask.
Do not think that the dramatic situation is only effective in the "low" genres,
and is designed for primitive viewers.
Not for sensitive viewers, it is also important, because the deep and complex ch
aracters are hiding under the protection of complex masks. Mask - this is not a
lie, it is a spiritual and social character of each wear. The man himself may no
t know where the line between the mask and the essence of his character, is the
dramatic situation will not force him to act, choosing the path between betrayal
and dedication usual lies and barbed truth, saving cowardice and courage danger
ous.
In life, we prefer compromise and rituals. Drama puts characters in a situation
where they have to direct action to protect the family, themselves and their ide
als. They must be saved from famine and death, to solve the problems of love and
sex ...
All of this is similar to our problems. But her we tend to put off and decide to
half-heartedly. A drama shows the characters in extreme situations, which pulle
d out of the depths of the soul all that capable people. To see how this happens

, it is extremely interesting. Actually, for this we go to the cinema - to see t

he characters at the point of reaching the human experience .
In short, the dramatic situation of people with tears cover masks and reveals th
e true essence. Nowhere, except the movies, we do not see that with such fullnes
s and clarity.
As an alternative factor increases, the characters are forced to act. If they st
art to struggle with an antagonist, or will drown in the muck or climb up or res
cuing drowning each other - any action to frustrate their mask. And it is not im
portant the words they say. You have to make the characters act. And mind you, y
ou're not in bad company!
Prince Hamlet went back home to Denmark. His father died. Mother soon married hi
s uncle, and the bastard freak, and seems happy in his hairy legs. A Ghost
Hamlet's father says that his uncle killed him during sleep. And the mother seem
to realize this. If this is not shit up to his neck, then what is it ?! And shi
t rises higher. Friends betray my girlfriend is going crazy. King plans the murd
er of Hamlet, he had already given all the orders, waiting for the corpse. But H
amlet is all looking for evidence. He thinks:
'' To be or not to be? "But all the shit comes. And Hamlet is already convinced
- the king is guilty. And the king is preparing a new murder - Hamlet. We must a
ct ...
A rich landowner, a beauty with a gentle, vulnerable soul, open to love, returne
d to his estate. It will be sold for debts. Give him a pittance, it becomes impo
verished. But another source of the existence of the landowner is not. She say:
"cut down your cherry orchard, divide the estate into small pieces and take them
to rent cottagers."
But the cherry orchard is described in the Encyclopedia. It ancestors lived hund
reds of years, many generations. For the landowner cut down the garden - is like
cutting off an arm or a rent house of ancestors: the top floor of a brothel, an
d the bottom - a hangout for drug addicts. It can not save themselves in this wa
y, although to his neck in shit. That's her choice, her fate.
These terrible words I describe one of the most poetic
dramas of world literature - "The Cherry Orchard." At the heart of all the great
dramas are rude, horrible dramatic situation. They require that all characters
stripped masks, opposed or were killed. The dramatic situation for the author of
the drama is the fullest opportunity to reveal the essence of their characters,
open the essence of the war, which the characters lead their lives. Shakespeare
, Ibsen, Chekhov, Tolstoy, Dostoevsky, Gogol - not bad company.
In fact, this company is so much more. And there, among other things, such nice
people as the ancient Greek philosopher Aristotle, who first noticed that the he
ro must confront the necessity - otherwise, the passive acceptance of it, there
would be no freedom. And the victory of freedom does not necessarily come as a r
esult of the victory of the hero. The hero may be killed, but as a fighter, not
like a puppy shit. If he atones for the loss of his guilt before fate - this is
also a victory for freedom.
Between the playwright and the audience is directed to the actors. What they mea
n dramatic situation?
Everything! Absolutely everything.
They always seek to ensure, to express his character in the drama of action here
and now. A dramatic situation is conducive to this. And it is incredibly produc
tive activates the imagination, helps to find an unusual, bright colors for the
development of the author's ideas. Here mobilized all reserves nature proposed b
y the author.
The dramatic situation as pain CHARACTER
We understand how the character reacts to external factors. And what's going on
inside? As the energy is born of action?
When the man got in a dramatic situation, he should get rid of the fact that it
prevents or achieve what he has not. The fact that it fills, can be briefly desc
ribed as pain. Pain - a good definition for this. When something is badly hurt,
everything else is less important. All but a retaliatory action ceases to be rel
evant.

Firstly, the right instinct in nature include motivation retaliatory action - sh

ort motive. It is light, illuminates the character inside. Motivation breaks or
all levels of nature - conscious, subconscious, instinctive. But a conscious lev
el is required.
Motivation is converted into intention - a desire to achieve the goal. Intention
- this is a conscious decision. It makes the desire to achieve the goal into ac
tion. As long as you have not reached the goal and not get rid of a particular p
ain, dramatic situation is not resolved. We reached the same goal - one free fro
m pain, go to the next dramatic situation.
You break a leg. While she was put in a cast, you will not be able to move on.
Your car was in an accident - you can not move further without repair it; or thr
ow it on the road and go on foot.
The dramatic situation - a barrier that must be overcome in order to move on. Th
e dramatic story of the character is completely focused on one simple task, doin
g that can go further. Because of very simple elements, we can create very compl
ex picture of life. They will have one clear advantage. They will find an emotio
nal response, the contact with the audience.
From one to another dramatic situation we can move, dragging the excited audienc
e, on one condition: they must be clear experiences of the characters, while vie
wers are able to connect emotionally to the characters.
Among all the arguments and intentions that are both live in the mind of the cha
racter, we are interested each time a specific motive, which prompts the charact
er to make a concrete step. We
drama each time need to choose one dominant motivation.
In prose, this is not necessary. For multilayered narrative motivation, reflecti
on, vague intentions and desperate situations the characters - this is normal, n
atural and competently. But the drama of a fundamentally different character, it
must act to fight the antagonist, and involve the audience in empathy. Therefor
e, every time he has to be only one clear motivation for a clear action. A commo
n way can be incredibly difficult. Each step should be easy.
Mammet David said on that occasion: '' The character in every action should be o
nly one motivation, otherwise you will look like a student who says: I was late
to class because the bus drivers went on strike, and my aunt fell down the stair
s and broke her leg " . The abundance of motivation sinks author's idea, the cre
ative will of the actor and the audience interest.
HOW TO START THE STORY
Every story begins with a dramatic situation.
How quickly it should reveal? Best of all - at once. The first page of the scrip
t, you specify the actions of your movie atmosphere. The second is usually cause
d dramatic situation in which the character was. It is important to note one res
triction. The dramatic situation said problems between people. This is a very im
portant limitation. The problems that arise between the hero and the forces of n
ature, social phenomena or philosophical concepts in the history of working poor
. Everything must be brought to a specific collision living.
For Romeo problem - not a social confrontation between the two clans, and his lo
ve for Juliet. How to become her husband?
For Ranevskaya problem - not a withdrawal from the social scene of the nobility
of Russia, and concrete life care. How to escape from poverty? How to arrange th
e normal lives of the children? How to make peace with the scoundrel lover?
For Hamlet's problem - how to punish the murderer of his father?
Simple, clear vital questions are declared in the drama at once. The character o
f the drama appears with your problem.
That is, he appears with his dramatic situation. Only care about the fight in th
e actions of our eyes. This is the drama.
In prose quite often we slowly
acquainted with the characters, we get an idea of ??their biographies, features,
and gradually from the polyphony of life begins prozvanivat theme of the confli
ct. She seemed revealed itself gradually fills the entire field of the novel, th
e story. And may be somewhere inside, guess mysteriously remain uncertain ...
But a good start is always drama clear and sharp. Characters need to act and the

action does not admit uncertainty. You have to do it. You can not postpone your
actions. The story occurs because "somebody wants to get something." We wonder
"why he can not do."
Characters need to act because they face the alternative factor. What is it - an
alternative factor? The origins of alternative factor always in reality. The ma
in threat to the alternative factors act from outside. Clearly marked and sooner
formulated an alternative factor - a powerful lever that causes the dramatic si
tuation in motion.
Conversely, if an alternative factor is not clear, it is not revealed, the chara
cter acts as if against their will, but as a puppet in the hands of the author.
You need to he shot - he shoots, and could not shoot - nothing forces him to act
here and now. Alternative Factor - one of the key motivations of any character
drama.
Alternatively, the factor
In every dramatic situation must be present an alternative factor. It threatens
the hero. He asks the question: "What are you doing in response to my threat?" W
hile you will not find work and can not make an alternative factor dramatic situ
ation devoid of movement. Alternatively, the factor must give a clear answer to
the question - what will happen to the hero if he can not cope with dramatic sit
uation? What a terrible alternative awaits him in this case? This alternative sh
ould be specific, real action here and now.
Alternative Factor - the weapon of the enemy, weapons antagonist. It is the fear
of a specific threat, which operates here and now. The vague and distant threat
, the less dramatic situation is tense. Nobody is going to go crazy because of t
he earthquake, which next year will destroy all of Japan. The tooth, which run u
p to now nightmare. If it does not pull out now, inflamed jaw. Alternative Factor - a pri
nciple that we derive from the immediate threat here and now.
In the life of a great many fears and threats, but they are concentrated in seve
n categories.
1. The blow to self-esteem.
2. The professional failure.
3. Physical harm.
4. The threat of death.
5. Threat of family life.
6. Threat of life of the population.
7. The threat to humanity.
Theoretically, these factors are arranged to enhance their role in the developme
nt of dramatic situation. But almost every factor can produce the maximum stress
and maximum effect.
IMPACT ON self-esteem
Chekhov has a tiny story, "Death of an official." Small official Worms theater a
ccidentally sneezed and sprayed his bald head sitting in front of the general. I
t was someone else's General Office. Chervyakov was safe. Nothing but the loss o
f self-esteem. He overcame the barrier
timidity - apologized. But I do not get adequate forgiveness. He overcame the ba
rrier of higher - apologized again during intermission. The general dismissed, b
ut not simple, as required by the self-esteem Chervyakova - paternal. The new ba
rrier, higher - Worms is the Office of General and again apologized. Gen. alread
y forgotten about yesterday. Forgotten, but not easy. The barrier is raised even
higher. Worms again goes to the general. And then the general scandal exploded
and drove Chervyakova. Poor officer came home and died. This joke - a classic ex
ample of the dramatic situation in danger of losing self-esteem.
There are very honored ideology in which the loss of self-respect is paid by dea
th, and there is not time for jokes. For example, the code of honor of the Japan
ese samurai. Samurai, "losing face" to kill yourself doing hara-kiri, and we kno
w that it is not empty words.
The level and form of self-respect in different cultures have an incredible rang
e. German girls did not lose self-esteem, steamed in the sauna naked next to str
ange men. They consider you an idiot and a male chauvinist, if you take it as so

mething unusual. For Muslim women in the East and the loss of self-esteem shame
- slightly open face. If this woman forced to bare, she would go mad with shame.
When a woman is subjected to violence, physical harm can be significant. Punish
criminals for damage to self-esteem. For the related trauma. And in obedience to
the power of primitive society was male norm. Loss of self-esteem is determined
by the level and nature of the civilization in which we live.
Self-esteem - a factor that is constantly present in our lives and it is the fir
st signals to us about any troubles.
What are the words most often says the wife in a dispute with her husband?
- You do not respect me!
Loss of self-esteem is active in all ages. The first thing that occurs in a chil
d, when he gets on its feet, it's a sense of identity. I heard the conversation
of mother with three year old son:
- Why are you yelling? You are nobody. Shut up!
- No, I who! No, I am someone! - Shouted the boy.
We all want to be "someone." We want to be different from others. Many people, e
specially the young, a sense of belonging to a person replaces the pack. Nothing
is more aggressive than the self-esteem of this aggressive personality - swarms
, groups, gangs, whatever you call her. It demands to be recognized in its terri
tory. Bite her self -one bared knives and brass knuckles, if not guns.
However, within any hierarchy of the pack is valid. Self-esteem of each member d
epends on the level in the hierarchy. Self-esteem has always personally associat
ed with the specific objectives and concrete threat of loss of self-esteem.
There is no person who would be completely devoid of self-esteem. They have each
and every self-esteem may threaten falling to a lower level. The hierarchy of s
elf-esteem is not only for people, it is - a common law of nature in any populat
ion. This hierarchy is valid in any animal pack. The leader of the pack of baboo
ns will fight to the death for the right ogulivat all the females of the pack. D
eprive him of this right, the loss of self-esteem and stress will kill him.
Scientists experimented. In one half of the cells are divided by a glass partiti
on, he was the head of the pack in the other - an ordinary baboon.
Ordinary members gave bananas to the first and the leader - the second. To the o
rdinary into the cell allowed a female, and he happily produce offspring in fron
t of a rabid rage leader. Initially, the leader was furious, then fell into a de
pression. Enough for three days, to the heart of the leader tore a heart attack.
What killed him? Loss of self-esteem.
In a civilized society, the loss of self-esteem issue is no less important. "The
loss of self-esteem," drives the characters in the dramatic situation. Here the
y are - our production. You want to use the character in the drama? Check it on
"loss of self-esteem." You get what you need.
Everyone is very sensitive to the threat of self-esteem. The subconscious mind i
mmediately turns on the mechanism of stress. You sometimes can not understand wh
y your relationship cooled with NN. Rummage in memory or ask a girlfriend to hel
p: women are more sensitive. You are sure to
You find some delicate shot, which pierced the self-esteem you NN.
Self-esteem - it is a thin film, which we defend our
emotional territory, its own microclimate. And it is for each person.
The energy of the "loss of self-esteem" distorts our usual behavior causes peopl
e to do extraordinary things. Therefore, in the development of the dramatic situ
ation a threat to self-esteem works as a constructive factor. He makes the hero
take a proactive defense and plan retaliation.
PROFESSIONAL FAILURE
This, in essence, codenamed blow that knocks you out of the usual rituals and im
mediately makes to fight for a place in life. You succeeded. All my life you slo
wly climbed up the hill - and suddenly an avalanche of depression rip you off. S
omeone next to resist, but not you. You roll down, and you know that will never
get a new chance to get up the hill.
In such a position is the character of Michael Douglas in the film "I've had eno
ugh!". He lost his job, his wife left him. He has no chance to return to his for
mer life. He is alone in the ring. One against all.

The threat of professional failure - an incredible amplifier active

of character. When a character asks a question: what would happen if I failed wi
th this case? - Energy action immediately increased.
The surgeon, the character of Harrison Ford in the movie "The Fugitive," succeed
ed, beautiful wife loved and was loved by her. And suddenly, in an instant every
thing collapsed. Wife killed, the surgeon falsely accused of murder and sentence
d to death. The case helped him escape from prison. He is looking for the killer
s. Who are they? His colleague, the doctor suffered a professional failure to cr
eate a new drug, and the surgeon discovered false reports.
Professional failure spins conflict, where you have to win at all costs: in this
case the millions invested. Corpses falling one by one. All opponents will be d
estroyed. And we will take this harmful medication if Harrison Ford did not win.
Professional failure, regardless of profession, allows emotionally relive the e
xperience of each character.
It may seem that this is an exaggeration spectacular bestseller. But life offers
us the real story, where the fight is so bloody as any one of the bestsellers o
f any one of the classic masterpieces of the past.
By 1934, Stalin declared the greatest of all great leaders, genius, father of al
l the children, scholars and athletes, not to mention the workers and peasants,
which he sent millions to labor camps. To consolidate his first place, he called
the Congress party functionaries, most of which he had brought to power. And th
ese rascals in a secret ballot put Stalin on the 14th place. At first came the f
iery and temperamental, he flunky Kirov, the head of the Communists of Leningrad
.
For Stalin, it was a "professional failure". And he quickly took action. Kirov w
as killed. After that flowed rivers of blood. All the leading Communists of Leni
ngrad were killed after Kirov. Mass executions and repression swept across the c
ountry. Stalin eventually finished in the hierarchy of living gods all the place
s from the 1st to the 14th. And do not commit professional punctures. When he di
ed, the country was shaken by sobs. All orphaned - in every family's father died
all children of workers and peasants.
But it can be said, exotic example. More often, a professional failure threatens
the ordinary person in the ordinary workplace.
New ideas of expansion of the case may be rejected by the market.
On your site targeting chief mistress.
You went around and gave well-deserved promotion.
These problems are endless. Work for many
people - it's not just salary, but also the meaning of life. Work - this is thei
r world, there are important needs, are respected - and that means no less than
the earnings. Take away this man's work - he will not last long.
So it happens to chief pilot of international airlines. After retiring the super
profi, on which depended the lives of hundreds of passengers left with nothing.
Destiny gives them a year, a maximum of two to a heart attack. This statistic.
In the civilized world often profession defines all the main thing that gives me
aning and content of your life. Therefore, a professional failure - life is a di
saster.
Physical harm
This is a fight. Personal injury means that opponents have moved from threats to
action. It always brings tension to the development of the action. Concern for
the hero gets the food and, therefore, is growing. The hero has to react, to fig
ht back or flee. In any case, response followed quickly and accurately expressed
. Therefore, physical harm to the characters of the film are often threatened an
d repeatedly.
The conflict with the threat of physical harm - perhaps the most popular and replicable genres. In films with kung fu and karate fights turned into b
allet. Contractions, slaughter - favorite activity of supermen.
Personal injury - is an aggressive agent identification. Starting with harmless
fun cake that fought comedians in Chaplino time, all the bumps on the screen res
pond in our subconscious instantly and accurately.
Death threats

This is when the character beaten aimed fire. His car exploded, the house is bur
ning, and it was a miracle, and fiction writer avoids the destruction to bring t
he story to a happy ending.
But it is also evidence of the intentions of the hero to go through.
Hamlet stabs Polonius sword to spy or to condemn the death of friends, spies and
Gildesterna Rosenkrantz - he is ready to fight for life and death.
Juliet takes a dangerous drug that threatens her life, making it insensitive to
the day.
Chekhov just once, in "Ivanov", completed a drama shot. But in fact, all of his
plays end with a threat of imminent death in its most tragic aspect - living dea
th. What will happen to the three sisters after the departure of the regiment an
d death Tuzenbach? What will happen with Uncle Vanya, whose life has lost meanin
g? What awaits Ranevskaya, remaining without means susche
tence? Death in poverty, most likely - suicide. She has already tried once so so
lve their problems.
If we create this threat, it will work regardless of whether the death of throwi
ng corpses on the screen, or peeking out from the misty future. It is a powerful
factor of drama.
THREAT TO LIFE FAMILY
There is something that for many is more important than life. The lives of those
you love children, wife, parents, or sometimes people who almost part of your f
amily.
Threats to life POPULATION
Normal human life happy and fulfilled when he lives not only in the family, but
also among their people. It gives life roots in the past century, and the prospe
ct of the future. In general, a person is happy, when his life and efforts are p
art of something much larger than himself. Under normal circumstances, a person
is not aware of how a healthy person does not feel the body signals. The signal
- a sign of distress. In this construction all the propaganda of political leade
rs nationalism. When they say, '' Your people at risk "- which means that the th
reat to your safety, as it were, and not eg
to take into account. If the nation wants to survive, it is your duty to die for
it. You have to die for the future. And this is a mystic. Who knows in the futu
re? As your children will live and grandchildren?
"The threat to the life of the population" - the slogan for any intelligible pol
icy, power-hungry. This is a very strong alternative factors, it brings people t
ogether, paralyzing their will to the personal safety and turn into ideological
killers. For the drama is extremely productive factor. It is useful to remember
it. Although, it seems, life itself does not forget about it.
THREAT TO HUMANITY
There was a time when I thought that this alternative factor acts in fiction or
strategic missile defense, but not in a real dramatic structure. But the young d
emocracy kill their fellow citizens with cynicism and lightness, which are the e
nvy of the Stalinist regime. Those were secret even butchers. These - cut throat
without shame. This is required by the interests of the "great powers", religio
ns and nations. These interests have threatened the whole of humanity. It seems
that we will live to see the tragic turn when the atomic bomb would be dropped a
nd humanity will enter a new phase under the alternative of total survival facto
r "threat to humanity".
The hierarchy of these alternative factors shows that this is just a stage in st
rengthening the tragic alternatives. Optimism in the not too much. But the ABC d
rama says that the optimism of the drama is expressed not only in a happy but in
a tragic end, provided that the outcome is the hero for the best possible acces
s to the specific circumstances.
Everything goes to the fact that "threat to humanity" will be a factor that thre
atens everyone here and now. For the most discerning minds this time has already
come.
Archetypes in dramatic situation
I knew a four-year boy who was afraid to write in a closet. The elder brother, e
ight idiot, told him that there, in the water,

live rat. When the kid will be writing, rat can pop out and bite his peepka. The
life of this baby was flour. Every time he wanted to use the toilet, he pleaded
with his older brother to check whether a rat in the toilet. Senior was always
busy with something, but for a stick of gum and have agreed to test the safety o
f the toilet.
One night the baby was left alone. The whole family went to visit, and the baby
put to bed. But how could he sleep? It seemed to him that the rat runs down the
hallway, she felt that the baby was left alone, and brought their relatives to r
ummage around on the pan. In addition, the kid wanted to write. Of course, you c
ould pee the bed, but it would be subjected to ridicule his older brother. And b
aby, trembling with fear, sent on a dangerous journey. And he makes the feat! An
d even shouts: "Hey, you rat, I'm not afraid!" And then ran headlong back under
the protection of his blanket. He is so happy that he could not sleep. Parents r
eturning from the guests, worried: "Do not ill he?" "I'm pissed!" - The baby cri
es and cries, buried in her mother's arms.
The dramatic situation drove the baby in the corner. He mobilized all the possib
ilities of his character, and overcome all the barriers: the barrier of fear, lo
ss of self-esteem barrier, the barrier will, courage barrier. He committed an ac
t and won the conflict.
What do you think would be a problem for these barriers Shvartseneggepa? No. And for you? Also no?And if it were real rat? For kids, they are real. Y
ou decide what you want, I would not go a toilet. I have little to do with Schwa
rzenegger, and a lot to do with this boy.
For pimply teenager insurmountable barrier - invite your classmate movie "Miss 5
B." And for Don Juan is no problem to meet you, to charm, and to spend a night o
f love with Miss Seville or Granada. I would not have been able to. We have a ra
nge of barriers that have -Custom supermen.
The Americans have accumulated vast statistical material on how to overcome the
barriers of different characters of dramatic situations. They are separated by j
ust four groups:
1. "Our friends".
2. Underdog (underdog).
3. "Lost Souls".
4. "Idols".
The useful knowledge of these categories? For each character, we would be good t
o know the ultimate dramatic situation, the barriers which he can overcome.
This limit depends not only on personality but on the category in which the char
acter. Murder, for example, an insurmountable barrier to "our friends." It takes
character to the category of "lost souls." Now he is heading into the arms of t
he devil into the abyss of hell. "Lost Souls" kill, becoming criminals, and "ido
ls" kill, kill and kill - but the aura of sanctity does not tarnish over their h
eads.
For each group of clearly defined borders limit the dramatic situations and conf
licts and ethical field in which the actions of the characters.
1. "Our friends"
It is we, our friends, our colleagues, our neighbors down the street, the city,
the country and on all five continents. Not so little. All of our main problems
with you from birth to death are basically the same: we love, we are afraid, we
work, we want to achieve something for yourself, help children. And we are very
well aware of each other. The dramatic situation, barriers and conflicts "our fr
iends" may reveal to us the most subtle and complex nuances of the characters. A
nd they are the best help us understand ourselves, because the emotional experie
nce of "our friends" adequate ours. With the advent of television, "our friends"
in
mostly settled on the TV screen. Thousands and thousands of episodes feed us eve
ry day this familiar food. Along with the heroes we overcome obstacles every day
, and it seems it will never get bored us. Because the best "our friends" - is o
urselves. And who does not close their own problems ?!
2. Underdog (underdog)
Much larger circle of "underdog" image of the character, who want to change thei

r social status (the term comes from dog fighting, "underdog" - a dog, the enemy
pressed down). Those who climb upward, overcoming class barriers. Western socie
ty has long and firmly established, change the social framework - a challenge th
at people obey all his life. This requires a knowledge of the will, the courage,
cunning, intelligence, perseverance. "Underdog" achieves that. to succeed and b
ecome the foundation of society. He was resourceful, but under the law. However,
if the goal is near, he is willing to go to almost all, except perhaps murder.
Scenarios where the main character - "underdog", usually full of vitality "under
dog." Sluggish, apathetic, infirm of purpose in nature can not be successful "un
derdog ''. One successful producer asked why his films are a success? He said so
mething like this:
- I'm just like everyone else. I not too understand scenarios and wrong. But I w
ould never take a job in the script, if the hero is not "underdog."
For a film with a story of success the best character - is "underdog".
"Working woman" Mike Nichols with Melanie Griffith in the title role.
"Uolstrit" - directed by Stone.
Movies British new wave 60s.
For the Russian film "underdog" - one of the most attractive figures. In a count
ry where all were poor, suddenly formed a bourgeois class. All of the "new Russi
an" - is "underdog" if their wealth is not related to crimes. They appeared as i
f the state of anything at the moment, when the state, robbed three generations
of citizens, fell apart. There were no laws, nothing was broken. Quirky mind agg
ressive courage and good fortune to be at the right time in the right place.
From the side it seems - so easy. However, where thousands have become rich, ten
s of millions have lost everything.
This group includes people who by birth or by
illness, injury, defective. What for us is not a problem are simple rituals of e
veryday life - for such "underdog" creates insurmountable barriers. From the poi
nt of view of normal human life "underdog" - a continuous chain of conflicts. So
he is at the center of our professional interests, but what is surprising is th
at these films are very interested audience. We can easily go out on an emotiona
l connection with the "underdog." His drama we can easily understand, they updat
e us simple values ??of life. There is something that we have received nothing,
and "underdog" receives an incredible work such an important part of life. These
films are usually talking about how people are fighting and winning a hopeless
situation. The best directors of world cinema films achieved success this catego
ry. And not just because these films raise profound moral issues, but also becau
se they offer an unusual and spectacular, sharp material. In these films, the ch
aracters with great effort rise to our level. The viewer will never support a lo
ser. But he always responds to a film that says life is worth to fight for it.
Let me remind some movies. "My Left Foot" - the English director Stephen Friers,
Daniel Day Lewis in the title role. This is the story of a real person, who fro
m childhood was almost completely paralyzed, only the foot of his left leg kept
mobility. And this man all his life struggling to live a full human life. Left f
oot, he not only wrote, but also draws a picture.
"Born on July 4" - a film by Oliver Stone Tom Cruise in the title role - a disab
led veteran of the Vietnam War. Young man with paralyzed legs goes all the conse
quences of injury hell and seems to never go back to a normal life. But the will
to life wins. He wrote a book about their struggle and becomes a politician, pr
otecting the rights of veterans in the Senate.
"Philadelphia" from the Jonathan Demme Tom Hanks in the lead role. A young lawye
r with AIDS fights for civil rights with the company that he was illegally fired
. The usual thing for a healthy person. But when sentenced to death forces to re
spect their rights - it causes our admiration.
"Scent of a Woman" - a film, twice delivered with a break of thirty years. First
in Italy, where the main role played by Vittorio Gus-man, then in America, the
beautiful script Goldman with Al Pacino in the lead role. Blind Colonel wants to
commit suicide. His life has no meaning. But it turns out that he can help his
young guide. And when he defends his right to trial in a friendly college, it is
that moral values ??are not lost, Colonel, we need young people today. He appla

uded the victory of thousands of young children. They admire a woman who could b
e his friend. Wonderful movie, set out a clear concise masterpiece.
These films show the transformation of the characters. Initially, the hero acts
as if with their hands tied, and the film tells how the hero gets the strength t
o fight. It excites everyone, no matter what has made the hero. The film says: "
Life - it is not shit! For it is worth fighting for. Genuine victory in this str
uggle - is not the wealth and success, self-esteem and full participation in lif
e with others. "
When I watch these movies, my heart swells with pride for the way movies can cla
im convincingly authentic moral values ??of humanity.
Movies category "underdog" show dramatic situation in which the brotherhood of m
an is fighting for victory in a hopeless war, codenamed "Such is life." Whatever
it was, the other will not. We have to fight this.
3. "Lost Souls"
It's the same as us, but lost their moral compass, violated the law and morality
. They began, as we have, but chose the wrong way. This movie about those who co
uld live a normal life, but became a criminal, a murderer, a servant of the devi
l. This is the story of a lost identity. These films are very different, "Bonnie
and Clyde," "Citizen Kane." Perhaps the most striking film in this category is
"The Godfather." The history of the transformation honest guy Michael Corleone i
n ruthless
murderer and the godfather of the New York mafia is known to everyone. There is
no need to reinforce this example dozens of other successful films. These films
bring huge profits, they are vast. We all know them. "Murderers Among Us" - that
's their codename.
The dramatic situation of the characters of this category is different in that a
barrier impenetrable to "our friends" is the open door for the "lost souls." Ki
lling them only way to solve the problem. But the most tragic - this is what hap
pens in every murder a double murder - the hero kills and the potential of human
ity. Probably every man looking at his baby pictures, says: "This is me? God, wh
at turned me life! "" Lost Souls "- a metaphor of these transformations.
4. "Idols"
Characters in this category - a good test for the imagination of writer and dire
ctor. It eaters bay. They flipped them as nuts.
Movie category of "our friends" would suffice ten seconds of the adventures of I
ndiana Jones or the Terminator. The company of supermen by Harrison Ford, Schwar
zenegger Claude Van Damme, Seagal and so on is transferred from film to film, ab
solutely not changing. The characters of the first three categories perceive the
situation as dramatic line, overcoming which they change. We want them to be ch
anged for the better, we are going through when they change for the worse. "Our
friends" becomes "lost souls," and we are moving away from them. "Underdog" beco
mes "our friends" - and we empathize with him. These changes are normal. But "Id
ol" can not change. Why is that?Because we so wish. "Idol" expresses our desire
to escape from the intractable problems, it comforts us like children. It may ap
pear in a mask ordinary person - as Indiana Jones appears in the guise of a univ
ersity professor. But as a professor, he performed stunts no more difficult than
the hare, to play the drums. Three minutes later he forgets his professorship a
nd charms us as a wizard-Superman. Batman and Superman are up to a certain mask
of ordinary people, but their true nature - "idols" that can all.
"Idols" appear in the guise of ordinary people, but their true nature - creature
s who can do everything.
"Idol" - the character for easy solutions to our problems hopeless. He is the da
rling of the entertainment industry. We do need time
attraction, and it is - an important part of the preservation of our mental heal
th. "Idols" return us to childhood holidays. We all become children when the lig
ht goes out, and the character appears on the screen, which can save the weak, p
unish the villain, to win in an unequal battle.
Drama seeks to develop extreme states of all that gets in its field. Happiness t
ends to become a paradise, misery - hell. The hero strives for perfection in the
guise of an angel, the villain - the devil. Life threatening death, love - betr

ayal.
With all this "idol" to cope in the shortest deadlines with maximum efficiency.
Motivation "idols" is different from the motivation of ordinary people. For exam
ple, in real life only epileptics obsessed with the idea of ??revenge. The avera
ge person is concerned about the present and the future. There is one amusing co
nfirmation of this. In 30 years of police chief of Chicago, an uncompromising fi
ghter against the Mafia, sent to jail many dangerous criminals. Almost everyone
left free to settle with the threat to the police. But the police chief was calm
. He said: "Revenge - it's not a criminal business. When he is released from pri
son, he must think about the future. "
In the scorched heart disease pathological epileptic maturing plans for revenge.
But just as they ripen and are realized in deeds supermen. And we like it, beca
use everybody's dream - to wave fists after the fight. We do this together with
Superman. Avenger figure Superman entered the literary usage in Alexandre Dumas'
The Count of Monte Cristo. " It was a brilliant invention. Monte Cristo - eg
Superman stands. He's obsessed with a passionate desire to do something, and the
re is no obstacle that can stop him.
But the family of "our friends" Monte Cristo does not fit.
For people who think drama dramatic situations the characters is as natural for
artists to think the relationship of colors in the color scheme, and for choreog
raphers - the movement of the dancers in plastic combinations.
However, the dramatic situation can not be static. They develop when we tell sto
ries. Their development in the conflict is our work. The conflict - is the key w
ord of the drama. In order to fully grasp the main thing, the key concept, first
get acquainted with the dramatic vicissitudes - cardiogram emotional conflict.
When we tell stories, then, we are generally concerned about the contact with th
e audience. She should be interested in everything that happens on the screen. I
f the person will fall asleep before the threat of death in the epic numb after
a while we begin to think, "Do something or die, finally." Contact hero is lost.
The drama develops - a universal insurance emotional contact in the conflict.
The drama develops
Pursue happiness
Imagine that you bought at a flea market at the old Turkish woman old copper pit
cher. They brought it home, rubbed so that it glistened. And then crawled out of
the jar and the cloud has become a genie. And the genie says: "Wish all what yo
u want. Do not be shy, make a complete list. Do not hurry, I have waited 6000 ye
ars, I will wait another half hour. "
What would you wish?
"One hundred million in cash. Prizes in all international festivals. Iron health
. Naomi Campbell in girlfriend. Or better Claudia Schiffer. However, let there b
e two. "Jaguar", there is no better "Porsche" ... "
This list would be very long. And you have said many times Jin: "Wait, I have so
mething else to assign to the father, for mum,
for sister, for girlfriend from France. And I remembered a little thing for myse
lf, that money can not buy ... "
If you are a prudent man genie will long wait for the complete list.
Well, if it was not a genie, and the little goldfish you caught in the river. Sh
e trembles in your hands. You've already gathered to throw it back into the rive
r, and suddenly she breathlessly whispers:
"Tell me one wish ... only one, and in one word ... Oh, I'm so weak, I'm suffoca
ting ... well ... well ... I can not wait."
Here you would have twitched. What do you want? Wealth? But what good is it if y
ou are terminally ill? Health? But what a joy, if your house burned, and the fam
ily would be killed?
I bet that in a short time you will find yourself trapped in your desires. There
is one word for all of your desires ... No ... with Gina you for half an hour c
ould not understand. And now a word to solve all the most important? No ...
But there is such a word. It shimmers in the distance on the horizon of all our
aspirations. About him we dream of a lifetime. And on the threshold of death, we
remember that owned this treasure when we did not have anything except childhoo

d. Do you remember this great shot from the film "Citizen Kane"? Glass ball insi
de which it is snowing in the hand of the dying Kane.
The word "happiness".
When it is, we do not notice it when it is not, everything else is meaningless.
Happiness - it's something that we aspire from birth to death consciously and un
consciously. Whatever we do - we want to get happiness. And what selfmy amazing - it is always ahead, it seems, that's it, next. Seized on, and it is
a remnant of wet in the bathroom, slip out of hands. As a welcome night in the
frosty winter night. Flashes and calling: "Come to me!"
Making the way to happiness, a person can move mountains. The dream of happiness
brings people together for the most ruthless battles. A sea of ??blood and pyra
mids of corpses - all for the sake of happiness.
Not surprisingly, AMD considers its main task to show in the struggle for human
happiness. Drama interested in extreme acts and extreme facts. Therefore, its fo
cus is people between happiness and unhappiness.
All full attention when a character in a drama strives for happiness. And all co
vered excitement when misfortune befalls him. But most attention is focused on t
he actions of the characters, when happiness and unhappiness are bound together.
I pursue happiness and suddenly fell into misfortune. He was unhappy, and sudden
ly became happy. This scheme is the most productive for the drama. It is close t
o the experience of each person.
We all aspire to happiness. But we have so much and give birth at the same time
no one asked if he needed the rest of the 6 billion people on earth? We have to
reckon with this. Every time we are about to take hold of a rainbow of happiness
, someone pushes us ahead and takes away our happiness. And never the way to hap
piness is never straightforward and free. Therefore, the struggle for the happin
ess of close and understandable to everyone. Show this fight - the best way to h
ook the viewer to your story.
Amazing effect of empathy to the person who, while fighting for happiness, falls
into misfortune, noticed by the ancient Greeks. This motion
of happiness unfortunately, from despair to hope the Greeks called "The ups and
downs." It is the key to the poetics of Aristotle. Until now, mankind has not in
vented anything better for the excitement of spectators in the drama.
We now know that much fun and a strong mountain cause stress reaction. The ancie
nts said: "Over the joy as well as excessive grief, kills." It seems that they g
uessed that recently opened Hans Selye: the fact that excessive doses kills, rea
sonable acts as a medicine. The drama develops gives people a maximum satisfacti
on to which only capable of Dramatic Arts. Scientists, psychologists have put ex
perience on white mice. The pleasure center (there is a place in the brain) impl
anted electrodes. After that, the mouse was offered itself to regulate their enj
oyment. And the mouse button pressed continuously stimulus thousand times, yet n
ot fall dead from excessive stress happiness. It seems that the drama develops c
rept very close to this center in our brain. There is nothing that can compare w
ith it.
The dramatic situation is the most productive peripeteia
structure emotional development. Its simplicity and the effect of rapid action a
re unmatched.
We get accustomed to the one we are familiar drama. Romeo Montague with my frien
ds decided to visit a ball of mischief family enemies of their family - the Capu
lets. As suddenly (note that word) he sees the stranger that ignites all his sen
ses. Romeo happy. And suddenly (again note the word), he learns that the girl the daughter of the chief enemy of the family. She - Capulet, their happiness is
impossible. From the top of the happiness Romeo thrown into the abyss of despai
r. Driving: happiness - evaluation of new information - unhappiness.
Romeo can not fight to cover it with love. Like any love, he wants to see his mi
stress. And at night, anxiously from unrequited love, overcoming danger, Romeo s
ecretly enters the garden of their enemies, and suddenly (that word again) chang
ed all fantastic, the whole world sparkled with fireworks. Romeo hears from the
balcony of Juliet sends him words of love. Incredible! But she loved as much as
he did. Romeo on the crest of happiness. Driving: misery - evaluation of new inf

ormation - happiness.
Look at these "suddenly". They appear in the story, each time a character is com
mitted to a purpose and receives unexpected information. And it dramatically cha
nges his emotions. But I was not just emotion. Romeo behavior changes dramatical
ly.
The ups and downs and a variety of activities
The ups and downs are not only diversify the feelings of characters - they creat
e emotional extremes. They throw the characters from joy to sorrow, from hope to
despair. And it makes visible all hidden opportunities
of character. We get a variety of behavior, painted bright emotions.
The ups and downs drama helps to express its potential desire to fight extremes
of heaven and hell.
Let's see how these troubles are working on in Shakespeare's play. To us it is i
nteresting to see that the vicissitudes constitute a continuous structure in the
drama.
The next morning, with a heart full of love, Romeo and knowing nothing about it
friends in the town square met Juliet's brother Tybalt. Romeo is ready to love e
veryone who is connected with Juliet. Tybalt, of course, behaves as an enemy of
the Montague family. He quarreled with a friend Mercutio, Romeo. Romeo tries to
reconcile them, but to no avail - Tybalt stabs Mercutio sword. Mercutio dies at
the hands of Romeo. Romeo instantaneous reaction: he grabs the sword to avenge t
he death of a friend. See - only that Romeo was full of love, and suddenly (agai
n "suddenly") covers his anger. He takes revenge and kills Tybalt. Romeo in desp
air - he did not want it, but too late - it's done, it kicked out of the city in
to exile. Now he sees Juliet. He is unhappy.
However, light is not without good people. Friar Lorenzo secretly crowned Romeo
and Juliet. They are happy as they can be happy newlyweds on their wedding night
. It is a bitter happiness - to be parting. But nothing can separate spouses. Th
ey are linked by God.
Suddenly (again "suddenly") Juliet's father tells her about the engagement and u
pcoming marriage with the count by Paris. This marriage is inevitable and at the
same time is impossible. Juliet in despair.
See what different events: instant love breaks at the ball in the enemy camp. Fi
ght with the double murder played out in the town square. Heroes is the mystery
of marriage. A scheme of action always the same: the movement of happiness sudde
nly stops and begins towards the sufferers. Movement unfortunately suddenly stop
s and begins towards happiness.
Every time there is a "suddenly", his character must realize and appreciate. The
refore, the scheme looks like this:
If we look at the events of the play, we see that one and the same simple scheme
works vicissitudes of ties to the finals. Maybe it's personal style Shakespeare
? But we already know that the ancient Greeks discovered the scheme and called "
drama develops." Since ancient times to the present day, this simple scheme a mi
llion times worked in the drama - each time with success. She - the elementary c
ell of the dramatic action. When you want to get emotional story, this scheme wo
rks best. And that's what we want.
A good drama story continuously throws the characters in the full misery, sudden
ly elevates them to the maximum happiness. The dramatic situation replace one an
other. Alternative Factor increases and changes. The development of emotion in h
istory goes all along the same pattern: move to happiness - and suddenly turned
- unfortunately. The ups and downs - it is a catalyst of emotions.
Of course, let's not forget that it is a scheme of the skeleton, which is inside
the living body of the drama.
In the simplest forms of drama, these rough vicissitudes of form clear conflicts
: the good guys are steps to happiness, the bad, of course, unfortunately.
The problem is that the highest form of drama - it's not altertativa lower. Laws
are universal drama. The drama develops valid in any dramatic structure and per
forms always one
Well, the same problem - connects us to the emotional world of the drama. The ex
ternal manifestation of emotions can be very discreet: the person behind the mas

k of a fixed fire vicissitudes we're guessing.

The ups and downs and motivation
The drama develops best drama performs the task: how to achieve maximum emotiona
l contact with the audience.
The drama develops - a tactical tool every minute of exposure. This is important
because you have to hold half an hour. Poor your business, if all major emotion
al blows you deal before the finale. The viewer can not wait.
Power of dramatic twists and turns are well aware of the professional storytelle
rs, who need immediate emotional response from the audience. Here is a typical c
ircuit television Sunday sermon:
"I lived in nothingness. My soul tormented low thoughts, my days were in sin. I
have not lived, and reptiles. My soul suffered in the darkness of unbelief. And
suddenly! The voice penetrated my soul! He called me and I responded! And my sou
l ascended to heaven. I threw sinful thoughts and ascended to grace. And I'm ris
ing higher and higher into the clouds, the sun. The angels sing in my soul! Hall
elujah! "
Note changed only motivation. At first "I" moved to goRyu and hopelessness, as it happened "suddenly" and "I" ascend to hope and happi
ness.
Rigid circuit dramatic vicissitudes draws you into a dramatic story about the mi
raculous transformation of the spirit.
But another successful storyteller. It draws millions of simpletons pragmatic ad
vice on how to succeed in business, get rich, and happiness in the world.
It Dale Carnegie with his recipe for success. His fascinating story cut from the
same mold. And it's a good template, it is never boring. It is called - The dra
ma develops. Stories about such:
"In my youth I was most unhappy young man. I did not like his job. She humiliate
d me. I was despised failure. In addition, my face was covered with acne, pimple
s and boils. The miserable hotel where I rented a room in the attic, under the b
ed with perforated mattress squeaking rat. From the ceiling fell bedbugs, cockro
aches running around on the walls. I was dirty and smelly, with my hair fell off
dandruff, and his mouth smelled bad. Of course, I was alone. My days consisted
of humiliation, and the night of nightmares. I was ready to kill myself. And the
n I said to myself: "Stop! Do you have a favorite hobby, turn to him! It will le
ad you to success!"
I threw a hateful job Salesman trucks
and I went to work as a teacher at night school. I made a decision and it change
d my life. I have become slim and beautiful. My hair curled in locks. Delighted
children grapes hanging on to me. The girls smiled warmly and I fought off each
other at the dance. "
We listen to the story. Our eyes moistened automatically, and no one asks the si
mple question: "Where are you, you fool, was before? Why such a good profession
you lived among rats and cockroaches? Why, just before reaching the extremes, yo
u've changed? "
Why is that?Because the laws of drama require that faced the extreme. If they ar
e facing, there is a miracle - we engage in the story - other people's problems
become ours. And if the narrative describe how the teacher actually succeeds - f
ly kick the bucket from the melancholy, and the audience will fall asleep.
Any story told with the help of dramatic twists and turns, has a much more convi
ncing.
Why is that?Because we want to because we have had and all those whom we empathi
ze. The drama develops - the tool of empathy.
It is believed that the most convincing are real-life stories. That's if everyth
ing in life, then the story work. The harmful and stupid mistake. It is not clea
r why each person will write a dozen beautiful script. After all, the life of ea
ch contains hundreds of exciting and true stories.
Professional storytellers use life as a chef meat. They strung pieces of life on
skewers and spread out skewers zigzags vicissitudes. If this scheme is laid out
correctly, '' true story 'work.
I once read an outstanding audacity of the story "of life." The American claimed

that he was in the Russian convict prison. He described his torment, humiliatio
n and torture. And how, driven to despair, he began to dig at night from the cam
era underpass.
Finally, he dug it. What do you think, which brought the underpass?
Right in the center of the cabinet of Josef Stalin.
At this point, I choked with rage and simple writer of this unprecedented audaci
ty delirium writes: "This is the true story of the life."
I think why this is a liar sure of their impunity? Because he lied professionall
y. He knows that as long as the story is held in the framework of the alternatio
n of dramatic twists and turns, it provided attention and trust. It is only nece
ssary to have emotional twists and turns, efficiency and contain vivid visual im
ages.
Drama is not an intellectual art. This art cause and develop emotions in the vie
wer.
Spectators come to you as cold as a dog's nose, and indifferent as the knife of
justice. They sit in rows in a dark room. For polt'ora hours you have to bring t
hem all to the excitement, and happy tears of catharsis. At least they should fo
rget about everything, except what you are showing.
Why do they think you will be excited, laugh and cry? Because you give them the
miracle of communication with art from the big-big "I"? Do not build illusions.
You win because, apart from high intentions and talent, skillfully manipulated t
he viewer's perception stereotypes. And knowingly went to the goal. One of the e
lements of this skill - the chain of dramatic twists and turns - the basic struc
ture of the emotional story. It is in no way contrary to the intentions of the a
rtist's finest.
The drama develops create forms
Not every story can cause your empathy. We have already noted that the best chan
ce for such empathy in the story where the characters are in a dramatic situatio
n. It gives impetus to our empathy at the start. Next we move on dramatic twists
and turns.
Poor Cinderella ministered silly and capricious sisters. She was getting worse.
She is alone, when the sisters went to the merry dance. Suddenly ...
Little Mary (in the fairy tale "Masha and the Bear") was lost in the dark forest
. Forest thicker. Masha will never find the way home. Suddenly ...
The Ugly Duckling is suffering beatings from evil and powerful birds. Suddenly .
..
The drama develops warms up your emotion. And in that moment, when there is "a s
udden!", We meet to disclose emotional stories. This happens at the peak of the
rotation vicissitudes of happiness.
Cinderella meets the prince and dances with him in a sparkling hall under the ad
miring glances all guests.
Little Masha, frightened and in tears, was a small house in the woods, and in th
e house - the pot of porridge and bed.
Ugly Duckling shrinks from the next blow, and suddenly feels behind white wings,
spreading them and flies to the sun.
Well-told story consists of a continuous alternation of dramatic twists and turn
s. This circuit is one of the substructures dramatic story. It involves in the s
tory and characters, and us, the viewers. And it also gives the actors a wealth
of material for action.
Let's look at the continuous action of the structure in a simple tale.
Cinderella was happy until my mother lived. All of a sudden ...
Mom died.The ups and downs unfortunately. His father married a wicked stepmother
with silly daughters. Unhappiness is growing. Cinderella sisters waited on like
a slave. She was left alone when the sisters and parents go to the ball. She is
unhappy.
Suddenly a fairy appears and begins flight to happiness.
Rats, mice and pumpkins in an instant transformed into a carriage with footmen.
Cinderella gets the dress and glass slippers. She goes to the ball. The rapid fl
ight fortunately continues.
Guests at the ball caught up unknown beauty. Prince in love with her. Cinderella

happy. And suddenly ...

Everything collapsed and rolled unfortunately. At midnight, Cinderella runs, ins
tantly lost everything. Again she was unhappy.
The Prince is also unhappy. He's looking all over for Cinderella. And at the las
t minute find. Now they are both happy.
In this idle stories no moment when the structure of dramatic twists and turns h
ave not worked. But it is, you say, a simple children's story. And how this stru
cture works in the complex modern dramatic play?
For example, "Stalker" Tarkovsky. I will not torment you. I must say - exactly t
he same as in "Cinderella." It's so clear that every one of you
It can conduct simple research, armed with a video cassette with the film.
One could cite some other outstanding film. "Stalker" I remember because my memo
ry stores an oral story Strugatsky brothers about how to create a script for the
film. The fact that Tarkovsky began to shoot the film, but shooting broke, expe
riencing an acute dissatisfaction with the script. Strugatsky received an offer
to write a new version of the script. They wrote. Tarkovsky did not accept the n
ew version. I wrote again. Again, failure, and Tarkovsky did not explain what he
wants. In despair writers offered their history in the form of melodrama, where
the emotions and actions of the characters developed for the maximum amplitude
of the movement of characters from unhappiness to happiness as the goal, and aga
in unfortunately. Strugatsky assured that in a conscious and balanced state woul
d never have offered a rough outline. And anyway, suggesting it did not expect t
o win. They were writers. Our dramatic problems they were a novelty.
But Tarkovsky was delighted it was from this "rough" version. He said that never
before had such a wonderful script. And later he took on the script of the film
masterpiece.
The philosophy of the film is not affected. The depth of the content is not dist
orted, but adapted to the mass perception. The film received what needed - struc
ture as a form of dramatic twists and turns. Because the drama develops has the
potential of shaping. The story told with it, looks like a finished form. Playwr
ights, which God has given instinct drama intuitively feel this form.
The drama develops STRENGTHENS interest in history
I once shared his thoughts about the universal influence of the "suddenly" with
a friend, the famous science fiction writer Kir Bulychev. He said:
- Oh, I always work with it. Only I have a different formula is not "suddenly".
but "it's not my mother."
Boy comes home, knocking on the door, shouting:
"Mom, open - that's me!" The door opened slowly. And it's not my mother.
- Who?
- It's interesting?
The chain of dramatic twists and turns from one surprise to another - this is th
e best way that can go a fascinating story.
What up all adventure? Because of the dramatic twists and turns.
A variety of events take place with the heroes. The most incredible danger inven
ts author. A structure repeats the same cell of drama: a risk - assessment - sav
ing, ie: the misery - evaluation - happiness.
Remember the beginning of the "Seekers of the Lost Ark" Indiana Jones adventures
in South America. One minute he can be ten times under threat of imminent death
and instantly assess the risk, avoid it, just to get to the next one. You say t
hat the path of "Idol."
The client and friend of "The Godfather", actor, singer and movie star gasnushay
a desperate. The main role in the new film could again make him a star. But he d
id not get the role.
Don Corleone sent his lawyer to Hollywood to settle the case. We already know th
at the Corleone family - powerful clan, and look forward to success. Suddenly la
wyer roughly thrown out of the pavilion. To strive for success, and suddenly - a
failure.
Following his well-known Hollywood director asks to know: who is this arrogant l
awyer? And then take counsel with the highest marks of attention. It was bad luc
k, and suddenly - a success. The director personally pokazy-

Vaeth honored guest house, garden, stables with priceless stallion favorite.
But at dinner, it turns out that the lawyer will fail. The actor never gets the
role. Directed into a rage when he speaks about this scoundrel actor who humilia
ted, disgraced and ruined director. Lawyer sorry, he seems resigned to defeat.
Suddenly the director wakes up at night in her bed covered in blood. At his feet
lay the severed head of a stallion, his priceless pet. Shocked director terrifi
ed screams. Corleone won - an actor gets a role. Success - failure - success - f
ailure. This, in essence, the same thing: happiness - unhappiness.
"The Godfather" - a film where there are "lost souls." How are the dramatic twis
ts and turns in films about "our friends"? Oh, there it comes, and their complet
e triumph. We are very aware of these heroes. All their joys and sorrows easily
woven into a chain of dramatic twists and turns. What kept hundreds series "soap
operas?" In clusters of dramatic twists and turns. Every minute a new chance. "
Every time the viewer is grieved unexpected obstacle in the way of character and
wonders resourcefulness to overcome that obstacle - it is emotionally moving cl
oser to the hero.
There is no maximum or excessive amounts of dramatic ups and downs in these film
s. Is there a minimum? Minimum is.
The three-act dramatic development of the situation every act goes through to th
e next turning point. This item is sharp, clearly marked drama develops.
"Scent of a Woman '' - a film based on the story told is excellent with two stro
ng ups and downs.
Blind Colonel (Al Pacino honored for this role "Oscar"), accompanied by the youn
g Secretary-guide goes to the big city. It seems that this journey to happiness.
But suddenly it turns out that colonel planned suicide. He had no reason to liv
e. His young secretary fights with him, as if temporarily successful. But the yo
ung man to face unfair trials in college. Saved by his colonel stands in court a
nd protect the guy. The ups and downs "fortunately" raises colonel from total de
feat in life to the greatest possible happiness. He has earned enthusiastic appl
ause of several thousand young people. Its principles have appeared for the youn
ger generation important and useful. And besides, he admires a woman who could b
e his companion in life.
When we move on to the vectors of dramatic twists and turns, we carry away the a
udience in the abyss of despair to the heights of the complete happiness. Struct
ural upheavals in the film were only two, however, Therefore
by them throughout the film are a variety of little twists and turns. Sometimes
barely noticeable turns from hope to despair, from happiness to unhappiness rock
ing boats characters in a stormy sea of ??life. It seems that none of them is ne
ver superfluous. The more emotion we want to call, the more twists and turns, we
need It is well understood classics.
MAXIMUM OF EMOTIONS FOR INFORMATION lows
Shakespeare, when he should at least get the information through the vicissitude
s of a feast of emotions. Here, for example, little can be said communicating sc
ene where the nurse tells Juliet about the exiled Romeo from the city. All infor
mation on two phrases: "Tybalt killed. Romeo banished. " See what this informati
on retrieves Shakespeare.
At first Juliet happy she did not know about just played out on the area of the
tragedy. She dreams of meeting with loved ones. Creek nurse: "Murdered! Killed!
"- It is stunning. Juliet decided that Romeo killed. Juliet thrown into the dark
ness of despair. No, Romeo alive - Juliet happy again, but her husband - the mur
derer's brother - Juliet to Romeo in anger. Love and anger are struggling in her
mind, and love winning - she was crying tears of joy because not Romeo Tybalt a
nd fell victim to a duel. Romeo is alive - this is important! Only now Juliet as
sesses the information in its entirety: Romeo banished! Juliet did not see him a
nymore. And it's worse than death for her thousands of Tybalt. She's desperate.
This little scene reminds us that in the drama of information - this is just an
excuse for the emotions that we need to call the audience.
Shakespeare was not only a playwright, and director of his plays. He knew which
way the emotions of the drama to communicate to the audience. By alternation of
dramatic twists and turns. Why so many of them in his plays.

From happiness - unfortunately - through assessment - fortunately - through eval

uation - unfortunately.
Importantly, all three parts of this simple scheme discontinuous. They do not fl
ow smoothly into one another, as it were, made up of broken lines. There was hap
piness, and suddenly it broke. It breaks into something that requires evaluation
.
"Suddenly" - this is a very important word for a dramatic story. It is best to c
ontribute to an emotional response. And we know why. Because "suddenly" due to s
tress. Each "suddenly" this is a little stress. And it is best to mobilize our a
ttention and we instantly react to stimulation fullness of our senses.
The ups and downs and catharsis
While we are talking about the practical benefits of ups and downs. But it would
be strange that such an important element of the drama had just practical sense
. The ancient Greeks who invented vicissitudes were not convinced pragmatists. A
ll they get carried away, there has been some implicit sense of touch to the mys
tery of life.
The mystery of magic influence of drama, of course, first and foremost
It refers to its ability to induce a catharsis - purification through suffering
empathy. Hans Selye, perhaps, will say that there is no magic here, but there is
a useful simulation of stress. Physiologically, he's right. But every one of yo
u, I hope, experience the excitement of the art magical feeling of joy and sorro
w at the same time, what the Greeks called "cleansing" - a catharsis. If you hav
e not experienced, I do not understand why you have chosen yourself a hopeless t
ask, like a movie. Our main self-justification before the prosperous merchants i
s that no other business can not give us this brief illusory happiness of touchi
ng the magic.
Mysterious supreme sense of drama is also present in the dramatic vicissitudes.
It reflects the strange property of the human soul to experience the change of e
ncouragement and discouragement, creative activity and passivity.
Composer Schnittke told me in an interview for the film: "I do not understand wh
y sometimes I instantly find all the answers, and all of a sudden, this ability
is leaving me, and I find myself in helpless confusion. Sometimes this confusion
arises within one composition. Once in my life I spent two years in a fruitless
attempt to finish the work. And I went through dozens of options. They gave lif
e to others the works, but they were infertile for the main. "
This recognition is a genius. The man whose soul is woven from endless possibili
ties in art. If these words do not touch the mystery of creation, then what is?
Everyone knows these tides of creative energy. They appear as if from nowhere an
d are replaced by apathy, not to provoke below
nothing. The drama develops, without explanation, this phenomenon gives shape an
d form - is something to aspire to all our efforts. Currently there are no forms
- there is no art. The mystery of the emotional impact of the drama lies in the
magical power of its simple structure. It had noticed a profound analyst of dra
ma, as Friedrich Nietzsche. "The sense of the tragic increases and decreases dep
ending on the ups and downs in the sense perceptions."
Attention genius philosophy penetrated into the essence of the mechanism of dram
a and guess where the design principle of the way of catharsis.
All right.We dream of catharsis. We know that, in principle, it is achievable. B
ut which way to reach him?
My answer to you is already guess ... Yes. By dramatic twists and turns. They mo
st surely excite our emotions and take us up to a climax, top drama, on which he
meets us a welcome catharsis. If you do not have a good supply of high-power vi
cissitudes, forget katarsice. This goal is not affected with a single blow. The ups and downs as banderill
as in bullfighting. Only when all of them bristling torero and bull furious Ridg
e, you can deliver the final blow.
We, the filmmakers - this torero. And the bull - it's a drama, we are preparing
to catharsis.
We look closely at how to build the "ups and downs in the sensory perception" in
a little Gogol's "The Overcoat."

From the first lines outlined dramatic situation: a hero, a petty official Bashm
achkin completely dilapidated cloak. Bashmachkin threatening frost and wind. The
vicissitudes of the movement started to disaster.
Bashmachkin trying to patch up his overcoat, but it is spreading. Hero tormentin
g cold, he faces illness. Step by step, he falls to the extreme despair.
It was only when he reached full hopelessness, born in his soul's intention to p
erform the feat. It is six months to save money and poshet new overcoat.
Start moving towards happiness. It builds up a scene by scene, strictly accordin
g to the vector from one pleasure to another, even greater.
First, among the hardships and troubles alone dream about the future happiness i
gnites the spirit of the hero. This promise to future happiness. The purpose is
to him in visions and dreams as a wife, colleague, friend. It is an ensign leads
him to victory.
And he won - his coat is sewed. But whether it is complete happiness - to be war
m?
The ups and downs must lead the hero to the end - to the complete happiness. And
Gogol leads us step by step higher and higher. Bashmachkin, who was known as th
e last person on duty. suddenly it reaches full self-esteem. He becomes a hero
of the day in his department. For the first time in his life he saw colleagues.
This made his coat.
But peripeteia drags Bashmachkin up to happiness. Deputy Chief of Staff himself
arranges a reception in his honor. In Bashmachkin alive numb feeling, he felt li
ke a man.
And he was not alone - his coat was his only friend. She is the beloved, warm hu
gs him. He first felt the fullness of happiness of life. For all this poor clerk
utmost happiness.
And as soon as he reached the peak of happiness, peripeteia suddenly breaks down
and everything collapses. But how ?! Awful!
Bashmachkin robbed. He was alone again, laced cold. It is in the mountain. The h
ero loses his overcoat and rolls into the abyss of despair at the vicissitudes o
f "unfortunate."
But this is not a complete disaster. This is only the beginning of the downward
movement. The ups and downs "unfortunately" the hero pulls a total defeat.
The next step - the indifference of officials makes hopeless attempts to find hi
s lost beloved.
New step - anger capricious general - increases to the full horror of despair.
The next step down quickly follow one another - a disease of death. The ups and
downs "despair" is depicted by a through.
Immediately, a new peripeteia. In St. Petersburg, appeared the spirit of place.
Bashmachkin a fantastic figure vzmetayutsya up the mystical drama Fortunately re
venge for his ruined life. Then comes the climax and catharsis.
You are reading this little masterpiece. Everything is so natural, so vividly. I
ncredibly, that after fifty years, it touches us tenderness, irony and sympathy
for the small world. We did not notice that our feelings are born and grow towar
ds distinct vectors of simple dramatic twists and turns. There are only three in
the whole story, where a variety of alternate scenes, crowded and lonely, with
dreams and misfortunes, dull everyday life and unexpected holiday. Sharp turns o
ccur only when a character comes to an end in Motion unfortunately or fortunatel
y.
Critics do not notice and do not have to ignore the fact that the extraordinary
effect, which is achieved in the masterpieces of geniuses is based on simple and
clear structures. It would be strange to hear the phrase: "The pelvic joint and
gracefully curved edges Cindy Crawford provide the plastic effect, enhanced mus
cle tissue, almost devoid of fat." But artists, drawing model, keep in mind, and
human
Driving dramatic twists and turns of "The Overcoat"
and muscles - it is hammered in ten years of academic studies. And we would have
been nice to know what it looks like the skeleton of a drama which muscles give
it effect.
Perhaps the best example of the impact of dramatic twists and turns, we see in o

ne of the most poetic and dramatic creations of human genius - the Gospel.
At the culmination of the life of Christ Last Supper marks the start of the trag
ic vicissitudes.
1. Christ happy friends.
2. But he knows that he will be betrayed.
3. He is arrested and judged.
4. He unjustly sentenced to death.
5. It is subjected to an agonizing death. At the moment, it seems full of destru
ction and grief arises rapid peripeteia happiness and complete victory.
1. The body disappears.
2. Spirit rises.
3. Starting eternal ideas of Christ. Vicissitudes gets maximum development. The
drama develops gives form to:
1. The concentrated expression of ideas;
2. expressive of their execution;
3. The maximum connections audience. The dramatic vicissitudes of philosophical
depth is naturally connected with the fullness of emotional life at all levels.
The work of art, in addition to all the wealth of characters and ideas, we have
attracted some internal order, the architecture of the world, created by the art
ist. We are able to instinctively admire the perfection of symphonies or sculptu
res not only because of the beauty of the melody or form, but also because we te
nd to evaluate the harmony structures. That is expressed in a few more. The mann
er commensurate all parts of the whole.
Our whole life is in the works - it is all talk and challenge chaos death. Death
decomposes, destroys, and creativity in any activity that is building. Art - a
metaphor for the effort.
- In buildings genius simplicity of design is shown as a result of the great int
uitive intelligence. When we delve into them, it turns out that in this simplici
ty compressed infinitely many. Young talents often bring only a cry of despair:
the world of the horrors
September, the young essentially there is no room. The pain is bleeding. Yes, th
is is what makes the art of. Of course, despair itself contains a bundle of ener
gy. But the expression unanswered shocked viewers - a legend for personal use. A
rt - an exchange of emotions and drama form - packing for a worldwide network of
exchange.
Discerning minds long ago drew attention to the fact that the dramatic structure
laid special meaning. Schopenhauer said:
"Drama is the perfect reflection of the human being."
We can conceive and plan the film, which, according to our plan, must make the a
udience suffer and rejoice. But we pass on his work by hand, and each subsequent
developing achievements of the previous. Is it possible in these circumstances
to rely on the power of the senses and the magic of intuition? No.It must be a p
lan deeply thoughtful and clearly visible. The ups and downs in this embodiment,
the construction may well help us.
Good gift made to us by the ancient Greeks. It would be foolish not to use it. A
nd those who still have doubts, read the words of one of the most perceptive phi
losophers drama of Friedrich Nietzsche: 'The construction of the drama scenes an
d concrete images convey a deeper wisdom than that which the poet was able to pu
t into words and concepts. "
CONFLICT
fight face to face, head to head victory
There is the notion that you are so familiar in life that they seem to understan
d and need not - and so everything is clear. Everyone knows that such a conflict
. This is when the two sides argue, fight, fight, kill. Throughout his life arou
nd them, we meet thousands of conflicts, learn about them, from personal experie
nce, we see on television, read in the newspapers. But professional interest mak
es you look closely at this term.
The conflict - is the key word of the drama. The drama deals only with the actio
ns of people in relation to each other, so the conflict is always in the center
of our attention. Any emotional or intellectual value in a drama we only get thr

ough the conflict of the characters. The actions of people in the drama usually
inherently conflicted. And if it turns out that the conflict is hidden or weak,
we find and develop. How do you - our trade.
And, as often happens in the profession, naive view diletan-come into conflict w
ith professional experience. To screen it was fun, in the structure of skeletons
of the drama of conflict are built contrary to the narrow-minded logic of every
day life. Just note - frames and not the behavior of the characters. In everyday
life
or you will almost never guess about the intentions of the person's face and app
earance. The killer would sit in front of you. drink vodka, clink glasses, smili
ng. And in real life there is no such brilliant insight that could penetrate the
brain killer and determine that at this moment in his mind he cuts your throat.
And in the drama - can. In the drama we balance between the obvious and mysteri
ous, and the ordinary spektakulyarnym. We want to reveal the secrets of men, but
so that it occurs naturally as if by itself. For this there is only one way - p
eople's actions in the conflict. Words tend to cheat and hide their true intenti
ons. Only the actions of people with tear masks and reveal their true nature. Th
ese actions should be based on the needs of the people themselves. They need to
express their egoism and selfishness are not the author. And just pushing people
into conflict, we can so deeply hide their intentions storyteller, that they ar
e no one would guess.
Mario Puzo, the famous American novelist and writer, once said: "We, playwrights
, like traffic-controllers. Only with one difference: we are crazy regulators. T
he regulators ensure the safety of life and the drama we think only about how to
push oncoming cars. We are the creators of the disaster. "
Indeed, the real life is full of efforts to avoid quarrels, disputes, fights. It
consists of a compromise, and the usual rituals. 10 minutes
drama show us more conflicts than other human life contains. A look at these con
flicts, connect to them, empathize and worry - that's why we go to the cinema. B
ut we want to rather conventional structure looked like a completely natural, vi
tal. How to achieve this? There are rules that help the development of the confl
ict and the emotional connection to it.
The first rule in conflict are fighting clear, distinct forces. Good fights agai
nst evil. The bad guys are fighting with the good guys. The brightest spark conf
licts are cut out from the extreme forces of a collision when the devil comes to
grips with the angel. In severe forms of evil hides behind a mask of kindness.
Angel is well wrapped and guessed is not the first time. Find and recognize two
irreconcilable opponents - the protagonist and antagonist - our task. Our proble
m - to give a clash of complex and multi-valued characters clarity that will be
deprived of triviality.
Life experience every young artist throws a lot of imagination born of the chara
cters and situations, has not yet been disclosed, not recognized. The characters
- it's your unique wealth asposob their identification in the conflict is quite
universal. The greater the difference between the characters, the better develo
ping conflict.
Find the difference - the task of the artist and to push these differences in th
e conflict - the technology professional.
Let's look at the differences Chekhov's characters. You can take any random nove
l, and you will find unusual and brought to the extreme differences.
"Vera" by Anton Chekhov
Ivan fire and Vera - young people, single, one social level. What prevents their
love? She was 21, he 29. Why not a couple? Vera slim, beautiful. And she explai
ned Ognev in love, selfless, burning her. She glows. And he is absolutely dead,
cold soul, incompetent to emotional displays statistics. Vera trembles and glows
. And the soul Ogneva - not even a piece of ice and stone. Vera recognized him t
hrough her tears, "I ... I love you." In Ogneva this recognition causes confusio
n and fear ... He clearly understands that it is not capable of love: "Faith is
better I have never met a woman and never meet. About dog old age! Old age is 30
years old ... "
Chekhov has revealed an amazing clash of two extremes -bezzaschitnoy passionate

nature, rich in love, yearning to give yourself the favorite, and impenetrable a
s alien to the feelings of the poor hero. As you can see, the extreme - it is no
t only the people of the law and criminals, the rich and thieves, cowboys and In
dians.
Armed with a simple working formula is useful in conflict studies
Cach clash of extremes, such as an angel and devil. All that expresses love and
spiritual purity - is angelic, it can roit life. And all that brings hatred, ind
ifference, death - it is diabolical. The inability to love - is death. It is dia
gnosed: "Old age is 30 years." The two amazing artistic fabric of life and non-t
rivial nature. A frame angel faced with the devil.
But the joke Humoresque "Zina" - here the angel faced a little devil. A young go
verness Zina, defenseless in the first love, and spying on her by her pupil, idl
er eight, the son of the owners. Chekhov describes the phenomenon of the birth o
f hatred as strong as love. It's ironic, surprising fresh even today, 100 years
later. The basis - a sharp contrast characters. Defenseless creature, covered by
the fire of love, and a dull, does not understand what love is, the little bast
ard, strong power, he suddenly received.
"When I went to bed, Zina, as usual, went to the nursery to see if I have not sl
ept in clothes and prayed to God Do? I looked at her pretty happy face and grinn
ed. The mystery of bursting and asks me out. I had to hint and enjoy the effect
.
- I know! - I said, grinning.
- What do you know?
~ S-s! I've seen you around the willows kissing Sasha. I followed you, and saw i
t all ...
Zina shuddered and blushed, amazed by my hint, dropped into a chair, on which st
ood a glass of water and a candlestick.
- I saw you ... kissed ... - I repeated, sniggering and enjoying her embarrassme
nt. - Yeah! So I'll tell my mother. "
The conflict arose and rapidly hurtling towards disaster. We already knew that t
he conflict - the basic way to develop the dramatic situation. Each character ha
s its own dramatic situation, and they face a conflict. Life is a drama - it is
a struggle to the conflict, a struggle between two dramatic situations.
DEVELOPMENT OF SITUATION IN CONFLICT Drama
The dramatic situation creates tension at the start. Hero at bay. How will he ge
t out of it?
American law say evil in dramatic conflict can not be expressed in a social or e
cological phenomena. It can not act as a philosophical category. Evil have to co
ncentrate in the form of a specific antagonist to the hero who fights here and n
ow. Such evil is most strongly involves the audience in the emotional empathy, i
t is full of surprises in the development.
The character, the carrier of evil, can express any philosophical ideas, but not
by words but by actions in the conflict. If it is a racist, he does not say a s
peech, and kills Jews or blacks. Evil to the conflict must take the form of a sp
ecific person with a personal character and personal interests - antagonist. By
its actions, the enemy hero asks questions. Action hero answers. So dramatic sit
uation develops from the conflict. Question - Answer - question - answer. So tel
ls any story, it tells the two: the hero and his antagonist.
The conflict has always faced two sides: two faces, two groups, one or two armie
s against all, but the "all" for the conflict, one person - antagonist. In any c
ase - the two faces. Even if the action scenes man, he is a party to the conflic
t. His will may face a lack of enemy. Finally, he can develop an internal confli
ct - the devil in the soul of the hero fights with the angel of his soul. Wherev
er there is a volitional action "I want", it becomes visible and understandable,
just bumping into a barrier in the conflict.
Not every scene the conflict comes out, but there it is always evolving. Some sc
enes are prepared conflicts, others conceptualize it. But they are always associ
ated with the conflict. All that is not related to the conflict, for extra drama
.
In action films Devil and Angel are easily recognized. But in life, the devil is

not recognized for the first time and the angel hidden under a protective mask
characters. The devil and the angel - the characters of melodrama, where all con
flicts are clear. In the drama of the devil and the angel fight in the soul of e
ach character. They create internal conflict. To understand it is not always eas
y.
The protagonist and the antagonist are often struggling in the conflict, not bec
ause one bad and one good. No. Simply they are both involved in a dramatic situa
tion due to general problems which have faced their fate, and compromise is impo
ssible.
Husband and wife are divorced and can not share a child. They are both good peop
le, both love children. The child loves them. Remember the movie "Kramer vs. Kra
mer." There are strong development of the conflict, and people are all good. But
their purpose in the fight incompatible.
At the heart of the conflict must be something concrete that profoundly affects
the vital interests of the most important. From the outset, we have clearly defi
ned because of any particular interests veshi faced characters.
In "The Cherry Orchard" - the sale of the estate.
In "Hamlet" - the murder of the king.
In "Romeo and Juliet" - the enmity of the two families.
Specific concerns are usually surrounded by sensuous details. They make visible
and bulk power core of the conflict, and it helps emotionally enter into the wor
ld of warring characters.
But abstraction does not cause such emotions. They pass through us as radio wave
s through the walls. When the concept acquires items and properties of a particu
lar person, then it is more likely to stick to our consciousness.
1. He wants to eat, and she wants to sleep. Until they pushed their simple desir
e, there is no conflict. He came home from work and want to eat in the kitchen o
f an empty refrigerator. And she was tired and wanted to sleep on the sofa near
the TV. The conflict is brewing. But here we encounter characters. He comes and
says:
- Hey, I'm tired and hungry. And she says:
- And I'm tired and want to sleep.
One "I want" collided with another "I want" face to face. If the "I want" have d
ifferent objectives. conflict develops.
Our task - not reconcile the characters and push the development of the conflict
to a catastrophe.
2. He thinks: "I work like a horse, I get tired, and home to me no attention! Sh
e does not respect me. I'll make it to respect themselves. "
She thinks: "He is rude, it is not considered with me. Perhaps he does not like
ME nya. That's what it is, "I'm hungry" when he sees it. I want to sleep. He doe
s not like ME nya - to me it is clear. "
This thought motivates action ruyut person ments.
He bangs his fist on the table, she was crying - it's a disaster. When a conflic
t arises disaster occurs unforeseen development activities.
3. He grabs his jacket and ran out into the street. He is left alone, and she is
left alone. The conflict over? Certainly not.Now they are both in a dramatic si
tuation. The conflict develops. Now, "he" was the field of internal conflict. Th
e devil whispers in one ear: "It is not about you
care, throw it. Thousands of girls around the beautiful and caring, go to them.
They feed you something. "And in the other ear singing angel
"Come back! You love her. Hold it. Say you're joking. "
He hesitates, but eventually believes the angel and devil throws. The internal c
onflict is resolved. He returns home. But it is not there.
The conflict worsens the situation or creating unintended consequences.
4. "Where is she? Where to go? What will happen to her at night? What will happe
n without me? "- It is alarmed.
Conflict creates intriguing questions: what kind of future awaits the characters
?
5. Again, he rushes into the street. At that moment a red car pulls away from ho
me. She seems therein. And not one! He runs the car. But does it catch up? He lo

st it.
Conflict develops when threatened from outside alternative factor.
The conflict - a living improvised way in which events unfolded.
6. Conflict - this is a script that improvise two co-authors. He wrote his scree
nplay. She writes her. She is offended and is willing to do something catastroph
ic in your life.
He rushes to her car and rushes in pursuit of a red car at the risk of life.
The conflict must be solved here and now. The pressure of time works well.
7. He traveled half the city. Nowhere is there a red car. And he comes back home
. His position has deteriorated sharply. At the beginning of the conflict, he ju
st wanted to have, and now he is alone. He totally miserable. Suddenly he sees a
light in the house and in the room - she said. She came back. Angel in her soul
defeated the devil. Lovers rush to each other, kiss and cry with happiness.
Without the conflict nor characters nor the audience would not have understood t
hat they are very fond of each other.
Conflict helps us relive feelings of the characters as their emotional experienc
e.
These issues do not arise in the conflicts in some sequence. It's not looks that
the answer to one question, we open the way to the next.
No.These issues would be at the same time as the vibrating body of the conflict.
They are always there together and individually. Answers to these questions hel
p us understand whether conflict develops. Exhausts me to the end of the potenti
al for conflict in its history.
Conflict - this is a story about feelings. Express feelings externally in additi
on to the conflict action is not necessary. Feelings need to be. Donoso their co
nflicts, when they told you visual literacy.
Look piecemeal several scenes from 'The Godfather. "You will see that Michael Co
rleone in all situations hide their feelings so that they are not nobody can gue
ss.
You think you're so perceptive viewer you something about them guessed. Are you
flatter yourself. Competent story and development of the conflict will lead you
by the hand like a child, through the dark forest history.
The ability to tell stories in pictures - this is nothing like the ability to tu
rn into a trusting adult children. The structure is manipulating the emotions of
viewers. In the movie it is. Renowned writer and film
director David Mammet in his first lecture to students, the director said: "An a
ctor should not your emotions determine the development of history. Do it - all
the same that assist the movement of the train on the tracks that you are waving
your hands out of the window of the car. "
To summarize. Rules that help the development of the conflict:
1. At the beginning of the scene and target characters incompatible unattainable
.
2. Outside threatening alternative factor.
3. There is time pressure. The problem to be solved here and now.
4. We need to push the characters to disaster.
5. We follow the viewer to ask themselves: what will make the character?
6. The conflict develops as an emotional experience characters, which we can fee
l with them.
To identify this emotional experience, the conflict must be developed in a drama
performed by actors.
DEVELOPMENT OF THE CONFLICT IN PERFORMANCE
The conflict is always evolving as the dialogue of action. These actions may be
external - expressed actions, can be internal-then they are expressed internal a
ctions. But action in the actions always have to look like an improvisation of t
he two co-authors. One never knows what the other will do. Its mission - to driv
e the partner into a dead end, to change it, "I want." The task of the enemy is
to come out of the impasse and to drive to a standstill partner.
An indispensable quality of the conflict - its unpredictability. If the viewer g
uesses about the next step of the character. all your efforts worthless.
Unpredictability - one of the problems that we are solving, working with the beh

avior of the characters. At any stage, no matter how well the conflict may have
been developed in the script, the unpredictability of the actions necessary to a
chieve the actors, conscious and calculated.
I asked a well-known actor: Do you have any single principle of working with a p
artner in the scene?
- Of course there is, - said the actor. - In each scene, I set myself the task:
how do I convert a partner? How to get it to do what
I need? And it should have the same problem with regard to me. Once we find the
scene blossoms detail. While this is not found, there is nothing to play.
Character alone can always be represented as a field of struggle between good an
d evil, as a field of action in the conflict. If not, the actions threaten strai
ghtness.
The devil and the angel - a metaphor extreme. In life, we often do not reach the
limit. More often internal conflicts vaguely excite our soul, not finding outpu
t in action. Intentions we usually many and various. But until we find them in t
he form of actions conflict, which no one would guess.
Soul bursting with the desire to become famous, to get rich, to conquer the worl
d. These fruitless dreams - your secret.
To make visible the mystery, it must submit, as a struggle of intentions in the
conflict. In this case, all rules of conflict - you know them: the conflict ther
e are two characters, their actions must be carried through to the bone ... Who
are the representatives of your privacy, your personal traits, your personal ang
el?
DP
For the development of the conflict, we need to understand what each of the oppo
nents charged. The greater the potential difference, the more the spark conflict
. The potential difference can be very thin slit in the relationship. We enter i
nto it a knife and gently pushing the analysis of this gap
conflict. There is no such situation in which a professional storyteller and fil
mmaker could develop a conflict. The greater the difference in potential, the br
ighter the spark conflict.
One runs, the other catches up - everything is clear. He is charged with murder,
I was charged salvation.
One accuses the other defended in court - then stated the obvious conflicting in
terests. But the two are talking:
- Do you love me?
- I love you.
Is there a conflict here? To answer, you have to find what is charged each chara
cter.
She is charged with love. He has more important things. He replied without looki
ng up. He thinks the money. It is now when she wants to announce that she will h
ave a baby! ..
Develop conflict in the event you get to the tears, tantrums. And it started wit
h a gentle kiss.
- Do you love me?
- I love you. She is charged with fear. She was lonely, she was in a panic.
He is charged with confidence. 'Calm down, I'll save you "- says his charges. Th
e conflict threatens the outside.
- Do you love me?
- I love you.
It is something he loves. And he - a scoundrel and a pimp. Only she does not kno
w about it. Spread thin as a hair, the gap of the potential difference. He can t
urn the event into an abyss.
The conflict is not words, and intentions. What is important is what the charact
ers are charged for the long term. It is important that defines the dominant beh
avior in the conflict.
Of course, to understand the behavior in the scene can only be based on the enti
re role. Each event - part of a single conflict of the film. But at any stage we
can find, develop and turn into an event of this gap.
The development of relations has a potential difference at the start great.

- Do you love me?

- I! You! I Love!- He yelled at her. In fact, he hated her. But he was trapped,
and she would not let him.
But relations swell potential difference.
- Do you love me?
- Me? .. You? .. I like ... - he sighs. It seems to be loved. Or maybe not ... H
e shrugs. She cries. He comforts ... Conflict rolled.
The gap in the potential difference may be barely noticeable, but the roots of t
he conflict tend to grow from the previous scene.
- Do you like Othello?
- I really like Othello.
- You feel sorry for him?
- I am very sorry for him.
- And Desdemona sorry?
- Of course, I'm sorry.
Two people peacefully discussing just seen the movie. They both like the same sc
ene, same actors, they admired the same moments. But one of the cultural and wan
ts to show it to others. This is the reason for the conflict. Or one wants to pl
ease the other, to convince him of intimacy.
Two lovers kissing. Green parrots beaks kiss so full and happy life on a branch.
But the boy wants more than to offer a girlfriend. He achieves, she resists. She
is afraid of losing him. But he rushing like a tank. There is a desperate situa
tion. Now the characters will be shown without masks.
People in the car. They are friends and go to a common goal. Behind the wheel of
a scorcher - conflict. Too cautious and slow, and time is short - a conflict.
Two make the overall work. But it is a meaning to life and the other for her thr
ew something more important - the conflict.
If you can push partners in a scene face to face, we can always develop their re
lationship as a conflict. This is the best of all that we can do in the drama.
The main task of the conflict - to make the audience with
actors go through the emotional experience of the characters. This is empathy. I
nvolve the audience in empathy is not a simple matter. The conflict will best he
lp it. Because emotions are born in a conflict in a particular struggle in our e
yes. Our emotions is drawn path of development - we follow him, and emotions ris
e. Once empathy is achieved, the scene took place.
DIRECTIONS FOR CONFLICT
At the time of the conflict we are most creative in touch with the text of the s
cript. Text can not fix the full emotional experience of the scene. And he shoul
d not do this. It is enough to give the text the correct orientation for the dev
elopment and collisions. What are the key reference points? What helps the actor
s?
1. The greater the contrast of the character, the conflict looks brighter.
The man against a woman, a child against an adult, old age against youth, poor v
ersus rich, stupid tricks against.
2. Do the characters have to be two different ambitions.
As the conflict enters what really wants character, not what he says in words. I
n small conflicts to identify more specific vital interests. And before the conf
lict, they are hidden inside of characters.
3. Two different motivations confronted characters in conflict.
In the conflict, "what I want" - is always concrete. '' Why do I want this "- it
should also be clear and the incompatible with the" why "- the antagonist.
4. In the conflict faced two different conflicting objectives.
"I want to kill," and he "wants to survive" - ??here everything is clear. That h
e survived, I should be killed. But in the life of enmity small goals, they are
not so are obvious.
Sometimes, these objectives are outside scene. We need to clarify and make clear
, then the conflict will get stronger.
5. The hero and the antagonist are in different masks.
Mask - is not necessarily an expression of falsehood. It is more - is sewn from
the aggression of the environment. Weak man stands in a mask Superman. Trickster

- a mask
Kind with a heart of gold. Gentle masked mock severity. The mask can increment t
o the person. Americans smile. It is their mask. So they meet your and your prob
lem. When conflict breaks the mask, they are defenseless. Mask - is a part of th
e personality.
6. Failure to understand each other - an important element of the conflict.
Misunderstanding just a small part of the misunderstanding, but to find out, and
it is not so easy. The difference in mentalities can push characters in an irre
concilable battle at the most unexpected occasions. In life
we agree to a compromise. In the drama of the compromise does not work as the ul
timate solution. Instead, it acts conflict.
7. To the conflict drags us emotionally, the characters should be charged univer
sal emotions.
These emotions are not so much. They are understandable to everyone. For example
:
- Fear
- Panic
- Pleasure
- Disappointment
- Powerlessness
- Wine
- Lust
- Fun ...
The conflict - a course of action characters. These actions are open and develop
in us emotions. The characters are fighting, their emotions come out, and we pe
rceive them. All of this comes in the conflict.
BARRIERS IN CONFLICT
An important element of the conflict are the barriers. Only overcoming barriers
characters make the conflict visible. Barriers reveal character. If there are no
barriers, no development of the conflict.
The easiest way to show the conflict in a verbal dispute characters. Usually, th
e hero and the antagonist hold opposing views on all the major things. It is a p
leasure to write the dialogues of their disputes. Imagination is bursting with s
ound bites, the hand she writes. But it's the last thing we should do.
There is a simple criterion of expediency of dialogue in the drama. If the words
put a barrier that must be overcome an opponent in the conflict. they help. If
words only brighten, clarify traits do not apply to what is developing here and
now, they have to look for another place, where they will create a barrier. Or t
hrow.
In a novel or a story in dialogue very different functions. There he is much clo
ser to our verbal contact in life. But lifelikeness drama - a thin layer of skin
that hides the skeleton and muscle structure. As one writer said: "The novelist
, who wrote the drama is like the captain of a ship in distress. He jettisons ev
erything that hinders the ship access to the port. "
The conflict - is, in fact, Dialogue: question-answer-question ... But the quest
ions and answers - this is not words but action. Questions take the form of barr
iers to the enemy.
Barriers can be external and internal. Decide on something - it means to overcom
e the barriers within yourself. Act - means to overcome the barrier in a real dr
amatic situation.
In conflicts we are looking for each character is the highest barrier that it ca
n be overcome.
THREE STEPS TO HEAVEN OR HELL
Drama seeks to develop extreme states of all that gets in its field. Happiness t
ends to become a paradise, misery - hell. Life threatening death, love - betraya
l.
Conflicts in the drama also tend to the maximum. Their maximum - a disaster. As
noted by Chekhov: '' At the end of the hero, or marry, or shoot. " It would be u
seful to have a holding structure inert quality conflict. Any conflict - the ori
ginal or trivial, slightly planned and rough, bloody - can get in this structure

a chance to develop before the crash. Of course, this conflict must not lose it
s originality.
If such a clamor for various conflicts there, we can see that where we do not pu
t the squeeze on, developing the potential for conflict. We have a model that ha
s a chance to be constantly on our desktop.
The best structure for the film as a whole is a three-act development.
The first act is planned conflict, outlines all the characters. At the end of th
e first act, there is a sharp turning point.
The second act. The turning point complicates the situation of the protagonist.
On the way the main character appear obstacles he overcomes. The conflict grows.
There is a growing and active hero. At the end of the second act there is a sec
ond turning point. It is surprising and seems insurmountable. He drives the acti
on in the third act.
The third act. The dramatic situation is much more complicated character. He fac
es a complete disaster. At the most critical moment - the culmination - the hero
finds a way out or die. In any case, the conflict is resolved at the maximum po
int of its voltage.
In one book I saw a diagram, where the scenario is like a river, on which floats
your boat with the characters. On the way the boat sticking out of the water da
ngerous rocks. The course can break the boat. River - is proposed circumstances
for - an alternative factor, stones - barriers to conflicts that must be overcom
e, moving towards the goal.
At the end of the first act, the river turns sharply. This is the first turning
point. The river bed narrows - flow velocity increases (increasing alternative f
actor). Stones are more and more (complicated barriers). The turning point of th
e hero puts on the brink of disaster. The conflict increases.
At the end of the second act on the river is another sharp turn. Behind it opens
the waterfall. Marine rushes to inevitable destruction. If we do not offer anyt
hing to save her, there will be a catastrophe.
Like any analogy, this scheme makes it easier, but to control the development of
the script, it works well. It turns out that the scheme helps to develop any co
nflict of any dramatic situation. It runs in the form of small as well as in fil
m hour and a half. In this scheme, conveniently connected by a continuous flow o
f life in history. And the need for drama leaps in the development of the confli
ct.
The river of life flows continuously, but the turning points at the end of each
act dramatically complicate the problem of the hero. It seems that, floating dow
n the river, the characters can bring their conflict to a total catastrophe in t
he film's climax.
Maybe it only works well in mass communications? Maybe in the high art of threeact structure of stereotyped neuvazhaema?
Imagine American writers workshop "How to write a masterpiece and sell for a mil
lion?". There comes a young guy with a goatee and says, "Hello, my name is Anton
. Friends call me impressionist, I'm not sure in the success of my designs on th
e market. Can you fix them? Now I have such an idea, a sketch of a character on
three pages . medical student lives with a girl from a poor family. He treats it
as a thing. To him comes his friend, realist, and lends a Woman as naturschitsy. This artist friend scolds the mess and dirt. Left alone, the student dr
eams of the future, where it will become a famous doctor. Concubine, of course,
there is no place in the future. And he decides to bring this future - immediate
ly expel her. But then reconciled with her. The problem is. that this girl loves
a boy. "The lecturer reads the story and says:
- Listen, you have a very clearly visible division into three parts. The first c
laimed the problem of the main character. In the second guest. artist, exacerbat
es these problems. In the third there is a disaster. I have nothing in principle
to recover.
- Then watch another little story. It's just a sketch of the character. A man wh
o always like to be protected from life in a case. I did so and called "Man in a
Case".
The lecturer reads and looks up in surprise:

- Excellent application. But her three-act structure is expressed more clearly.

In the first act announced the problem in the second part, they are complicated.
In the third part, they are exacerbated and lead to death of the hero. Tell me,
young man, you have not visited our courses screenwriting craft?
- Is not necessary.
- Very strange. What's your last name?
- Chekhov.
Following Chekhov comes another guy with a mustache and long hair on side partin
g. He says:
- I write stories and novels. Friends say that I am extremely resourceful at inv
enting of the extraordinary literary construction. Please show me my mistakes. H
ere a little story, it's something like a love story of a small employee and his
overcoat. The trick is that the cloak withdrawn completely as a living person.
The lecturer reads. When he looks up, his face delight and admiration. He says:
- I find it hard anything to teach you. And you have a very clear division into
three acts. If you allow me, I will divide by your acts as an example for other
students. The first part of the hero dreams of his beloved and is committed to i
t. In the second he gets the maximum happiness, but loses his beloved and is fig
hting for her until her death. In the third, he turns into a fantastic creature
and revenges his offenders. I would love to recommend you to the screenwriting d
epartment "Universal." What is your name?
- Gogol - says the mustachioed young man and dissolves in the air.
Development of a three-act dramatic situation in the conflict you may find in an
y genius for one simple reason: it is not some special technique is a versatile
way to express the author's idea through the dramatic situation and its developm
ent in the conflict.
The idea of ??three-act dramatic conflict, without which today is unthinkable, n
o American movie on the market, not ripe in the depths of "Universal" or "Paramo
unt". Popular culture took her, as well, and everything else, geniuses and class
ics. Their frank and open converted to mass stereotypes.
Of course, there is a problem. And while we're at it does not respond, it would
be incorrect to move on. The problem, in my opinion, is that the enjoyment of ar
t is always associated with novelty and the exception to the rule. They give us
the joy of touching the mystery and the infinite fullness of life.
Popular culture operates rules. Only rules. But if in your luggage only the rule
s, you will get a solid stereotype from top to bottom. As a theorist Roland Bart
hes structuralism: "Stereotype - a nauseating impossibility of dying," and I wou
ld not want to push you to a pulp in this eternal work.
However, the basic elements underlying each of art, always have a structure. You
can call them stereotypes, but they form the basis.
Paul Valery, the great essayist and insightful thinker, gnomic said succinctly:
"Think not with words, phrases only think." That is the thought of the artist mu
st be present shape.
This applies to every art. In the ballet thinking phrases based on the canonical
movements. In chess, thought combinations, based on the immutable rules of movi
ng figures in the field.
These rules do not interfere with the eternal renewal of art.
Similarly, in the drama of it does not interfere with the creators of reliance o
n the rule of conflict in three acts. I believe that the genius who defined this
rule has not only the power of intuitive insight, but also a perfect brain-comp
uter, which allowed them to calculate the thousands of decisions instantly and a
ccurately select the best path.
And this is the way of development of three-act conflict. Let's see how this wor
ks by Chekhov.
"The death of the official" first act
The official Worms theater accidentally sneezed on his bald head neznakomoOn general. Worms embarrassed, he apologizes, but the general shrugs, does not f
orgive his paternal, as expected. Worms confused.
The second act
Worms are extremely concerned at foreign ministry to apologize to the general. B

ut the general behaves inappropriately. He pretends that he remembered nothing.

Worms have not received forgiveness.
The third act
Depressed, scared Worms again goes to the general apology. This time is a disast
er.
- I go away! - Barked suddenly turned blue and zatryasshiysya General.
- What's that? - Worms asked in a whisper, numb with horror.
- I go away !!! - Echoed the general, stamped his feet. The stomach Chervyakova
something off. Seeing nothing, hearing nothing, he moved back to the door and we
nt out and made his way home ... Coming mechanically without removing his unifor
m, he lay down on the sofa and ... dead. Development of a three-act story gives
little clearer form.
Other Humoresque and a half pages of text - Loving couple having fun in that sta
tion seeing off passing trains. With excitement and affection expect young appro
ximation dinner and night to indulge in the joys of pogurmanit and love. And sud
denly! From the train arrived falls crowd of relatives with children. Clear. tha
t peace and tranquility in the country collapsed. As a result, the husband no lo
nger loves and hates young wife - is to come to her relatives. You see the story
develops in three small acts:
- In the first show lovers, aspiring to happiness;
- In the second of their love faces obstacles;
- In the third love of catastrophic collapses. Humoresque three-act division giv
es a clear and precise form. And we did not notice that the idea of ??the author
moves the three push-140
Tremors act as a turning point, the action is pushed to the next act.
The turning point - the character was in a dramatic situation. It was good, it w
as bad. It was bad, it got worse. It was really bad - suddenly healed. This is a
turning point in history. History got a new direction.
The character must respond to the actions of the unexpected "when suddenly!". A
conflict of this rapidly grows. We have already drawn attention to these "sudden
ly!", Examining the dramatic vicissitudes. Now we are clear that the structure o
f the drama builds in the vicissitudes of the ladder. Each step higher than the
previous one. These steps we climb to the climax. And the whole is divided into
three ladder march. This is a three-act. So we tell stories, developing conflict
.
Let's look at these three flights of stairs in a little story Chekhov
13-year-old Varka serves nannies shoemaker. Just given the dramatic situation: V
arya, she is still a child, to faintness wants to sleep, "her eyes stuck togethe
r, pulling his head down, neck aches. She can not move or eyelids or eyes, and s
he thinks that her face dried up and stiffly, that the head was as small as a pi
nhead. "
Varka should all night screaming baby cradle. Day breaks, and the cry of hosts:
"Varka, lit the stove!" - Drives the action in the second act. Dramatically chan
ging the rhythm and pace of action. Varka, tortured sleepless night,
chase, without giving a moment's rest. In the shed for firewood, ignite samovar
clean overshoes, wash the stairs for a beer run, run for vodka ...
And here again the night, and bursts into a disaster overdue third act. Varka cl
ouding the mind is the enemy, the root of all her troubles. This screaming baby.
Varka it strangles and laughing with joy, fell asleep in the cradle. Plunging i
nto a brief relief from the terrible sufferings of real life.
Three acts.
In the first set of conflicts.
In the second conflict develops.
The third conflict explodes disaster.
We note in passing that the whole story - it's one continuous peripeteia unfortu
nately, that breaks sharply in the climax to the vicissitudes of the terrible, t
ragic happiness. We note in passing that the heroine is always in a dramatic sit
uation.
All structural elements which we've learned work together.
Three-act effectively in the development of the conflict, some self-restraint.

The first condition. From act to the act of attention is narrowed area of ??hist
ory, as if its concentration on the essentials.
The first act of stores. It tied all the major sites of conflict. It is a circle
of people, objects, details, environment - all that in the system of Stanislavs
ky called the "given circumstances". In the first act of going all the informati
on with which we will work in the second and third act.
In regard to our system:
What kind of boat?
What are the people in it?
Where and why are swimming?
What's the river?
In the first act we will, in the language of chess, we arrange pieces on the boa
rd and make the first moves.
The second act. A fight ensued, the game is difficult. The abundance of differen
t dirty tricks there. On the way the characters more and more obstacles. It is m
uch more productive to reveal the unexpected in the familiar than to learn new t
hings and new.
The boat seemed to be strong, but it was a hole.
The course was calm and now carries the boat with terrible force.
River beckoned languidly as the merchant's wife in the picture Kustodiev, and no
w sticking out of the water the rocks, the water bubbling around.
Satellites looked like decent people, and discovered that they are liars, villai
ns and rapists.
Does not it remind you of learning something from the experience of your life?
The second act shows the wrong side of each of the rainbow. We are deepening the
understanding of the circumstances stated in the first act.
In life, you say,
- Stop! I'm on this boat do not swim. Hello everyone.Thank you for the lesson. M
y journey is over.
But the main drama is just beginning. The first and second acts - it's just a pr
eparation for the catastrophe of the third act. In the drama you want
to find out the essence of evil, to prove their case, to establish justice and o
rder your world. In the drama, you can not evade the growing impacts of the conf
lict. You are well acquainted for the first two acts to the insidious nature of
the river, its capricious course. You have no illusions about the fortress vesse
l. And you know that your companions will not convince words and promises. It wi
ll be a fight to the death or to victory. And let the boat carries the abyss wat
erfall. You need to focus on the essentials. Then, from the depths of your soul
there are additional forces taivshiesya it. Conflict is resolved to the fullest
extent, and the philosophical meaning of what is happening there as a result of
the ruthless and uncompromising struggle. It is a drama.
As you can see you for the approval of your position is beneficial to the third
act was not new information, distracting you from the last fight. All your power
should be given to the fight against the already known evil. But the audience i
s profitable. They accidentally watching your boat for more than an hour. Accust
omed to all the details. And you really want to help their sympathy. When they c
lear "who's who" they are emotionally involved in your problems. And as soon as
there is something new, they are distracted and have to think: Who is this guy?
Location? What does he want?Do not lie? Emotions audience immediately falls to z
ero. You need to stir up the stove again. So the audience is well the same as yo
u well - author and director, Less new information in the third act. Plenty of m
utual attacks in the final solution
SRI conflict. In combat, strike sparks of truth. And let fight those whom we und
erstand best - the main characters.
But for the actors a big fight in the crash of the third act - the best you can
come up with. Give the actors the opportunity to express all the action. what th
ey think about their characters.
So for all the best to the catastrophe of the third act developed on a narrow ar
ea in the center of the attention area of ??drama. This area as the center of th
e target.

Let's see how this works in a crowded story Chekhov Olga - an attractive woman i
n her seventh month of pregnancy and her husband, handsome, clever, ironic lando
wner, celebrating name-husband Peter Dmitrievich.
The life of the couple entangled mundane everyday things. At first, their confli
cts and not name. Thus, misunderstandings, petty jealousy, little lies. unclarif
ied claim. But little things familiar to everyone, are woven into a continuous n
etwork. And, as if in passing, stick together in a single lump everything that i
s a hammer to beat in the second and third act, when the conflict will strain.
The first act of a great people along, it is filled with lots of delicious detai
ls and observations. In it the atmosphere of a sultry summer day preddozhdevogo.
We are completely immersed in a carefree life, where everything is full natural
ness. The head does not come, it's not just written a masterful picture of the l
ife and well-prepared positions for the explosion in the second and third acts o
f the disaster.
By the end of the first act, you experience a feeling that you just spent the ho
liday in a rich manor at the party host. And well understand fatigue and irritab
ility sore of Olga, hidden behind the mask of a friendly hostess.
The second act. The couple alone in a darkened bedroom. All the guests were in t
he first act. There is no one other than the two main figures of the conflict. T
he first stone carries an avalanche. We do not have time to recover, all in flam
es a family quarrel. It seems pointless, but we are well aware of the motives of
the characters, the motives of every word and gesture. It made ??the first act.
The quarrel soon climaxes and subsides like appearance. But in fact, driven into
the fire, it will explode in a crash in the third act.
The third act.
Begin fight premature birth. And
It focused on the face of the suffering of Olga. Suffering of premature birth.
Miscarriage.
The dead child.
Olga herself between life and death.
The husband in despair.
Everything is going to hell. yet it does not stop desperate groan Peter D.:
"Why do not we took care of our child."
We will not touch the brilliant text. We look at the structure. All the necessar
y information is received by us in the first act.
Act II turns this information into a conflict and develops the conflict to the m
aximum.
The third act turns the conflict into a catastrophe of the second act.
In the movies, this design looks simpler pogrubee. You can easily find it in the
excellent bestseller "The Godfather", and in a classy thriller "Escape" and in
any professional film having success.
But the best once again turn to Chekhov. In the "name day" action takes place du
ring the day. In 17 pages - twenty years of life of the protagonist. The design
is the same.
The first act. The joyful beginning. In the provincial town coming young doctor
Dmitry Ionich Elders. He falls in love with Katya Turkin, a young pianist. Katya
's mother writes novels, his father - a hospitable and witty gentleman. All is f
ull of some kind of hope, promise the joy of novelty, happiness ingenuous provin
cial life. This is the first act in it 11 pages. Almost two-thirds - and virtual
ly all information. Further information is modified twice, in the second and thi
rd act.
The second act. It took four years. On page 5 shows only previously known figure
s and facts. But now the mask ripped off, revealed the secret springs. The owner
-windbag, the owner-grafomanka daughter foolishly went to Moscow and returned li
ke a whipped dog. But the Elders, it turns out, is not loaded with youthful idea
lism and indifference and greed. As if he was not capable of love and compassion
. What a strange transformation!
The third act brings this transformation through. The answer given sharply, seve
rely scared. Catastrophic change Startseva completed.
The conflict of man with routine provincial life identified with the brevity and

completeness. Elders eaten, digested and turned into a monster.

If an actor conceives his role as the character with the conversion of the three
-act, he has an additional chance to look at any bright ensemble. His notice and
will not be forgotten, because the role of the form appears.
I had an example in the development of this role in the movie "Lost in Siberia."
They starred talented actors, according to the Russian tradition, they improvis
ed, played relaxed, without controlling
strategy for its role. Did - the case of the director. He will indicate he recov
ered, he will mount. Englishman Anthony Andrews lost on all counts them. Do not
improvise, did not offer rooms paradoxical, I did not set the role upside down in short, no manifestations of impulsive talent. Assistant lamented: "What are
we cool our artists, what are we so unlucky with the foreigner!"
Andrews role divided into three parts.
In the first part it was a lively, impulsive, fast-talking, with burning eyes that was his life in freedom.
In the second part, he moved retardation, slow thinking, it seemed that the simp
lest information is difficult to digest his sodden brain. It was his life in the
camp. He turned into an animal.
In the third part there was cruelty and sharpness. He grew up fighter. ready at
any moment to defend their lives in direct combat to the death. He tenaciously g
rasped everything around him and did not come out of intense concentration for a
moment. As if a person was born. This was the final part of the film.
No suggestions diversity or for a brief moment to blow this figure did not take
Anthony. But when they went to a movie filmed in the timeline, our actors improv
ise colorful shreds flew to the basket. And as Andrews frame stuck firmly to the
frame, and the overall impression was growing day by day. He played only on the
merits of the conflict. The role won a clear form. In the end, no one doubts th
at this is one of the successes of the film.
Three-act character development is not always inherent in the script. This is so
mething that we can make to the role. With this we have to work, developing the
script and the film starring.
I, like probably every director, had the idea to put "The Cherry Orchard." I wan
ted to see Ranevskaya in the first act much younger than his years. Young, happy
, with his impulsive movements, gait letyashey, all in the excitement, with an e
asy transition from the joyful laughter to crying. Still would! It is five years
was not at home and suddenly felt myself the center of attention of all those c
lose to her, and garden, nice garden, here it is around her.
The second act. Ranevskaya looks at his years with concentration thinks. It is n
ecessary to solve the problem. What to do with Varya? How to live on Anna? .. An
d intractable situation with the cherry orchard, it is better not to think about
it now ...
The third act. Ranevskaya aged dramatically. If not passed two months, and twent
y years. The movements of some uncertainty, hands slightly trembling. She tries
to hide it and she is frightened, as if the breath of death notices.
The same three-act dramatic development can be seen in Lopakhin. In the first ac
t, kind, gentle, seemed not at all confident. The Russian intelligentsia of the
people. Mind tenacious, but affability and gentle much more than usual for a suc
cessful businessman.
In the second act of his annoying all those idiots who can not understand what d
ying. He could hardly contain. And internally all the time mother. Silly slacker
s do not want to accept the help that will save them! He kept to himself, thinks
, and each time it appears that sell garden plots cottagers incredibly profitabl
e business. And this fantastic business he gives. And Ranevskaya and Guys do not
take. No nonsense it?
The third act - a catastrophe. LOPAKHIN looks like Mr. Hyde, turned into Dr. Jek
yll. It's a completely different person: a wild, rough, unbridled, crowded anima
l joy. He is like a wolf, with his calf, drunk hot blood of victory. Garden, whe
re he was a slave, became his property! All the secret dreams come true!
Three-act structure of development - is one of those mysteries of the drama, whi
ch Nietzsche guessed. It gives shape to works of art to all our experience of th

e philosophical understanding of life in the drama.

But there is another argument in favor of the construction of a three-act confli
ct point of view or one of the best options, and a universal formula. It is obje
ctive, because it relies on a stable stereotype audience perception.
Everyone - a separate world. But when we're going to multifaceted creature, sit
in orderly rows, the light goes out and lights up the screen - we breathe, rejoi
ce and grieve as one. The sharp turnaround from the first act in the second occu
rs just when the viewer needs something new that stimulates his interest and att
ention. The same sharp turn in the third act of the catastrophe occurs when the
viewer emotionally ripe for disaster and wants new emotions.
If intuition and calculation properly connected, there are miracles
like the movie "Someone flew over the Cuckoo's Nest" and "Bicycle Thieves". Comm
on symptoms familiar to all emotion on screen catharsis explode in movie theater
s around the world.
You already know my beliefs that Chekhov always intuitive genius finds the optim
al solution for the conflict to develop their ideas. How it looks in relation to
the development of three-act?
A good example of this - a little story
The first act. Right claimed the character of the protagonist Belikov.
"He was a remarkable fact. always, even in good weather, I am walking in galoshe
s and an umbrella and always warm padded coat. And an umbrella he had in the bag
, and the clock in a case made of gray suede, and when pulled out a penknife to
sharpen a pencil, and the knife he had in cheholchike; and his face seemed, too,
was in the bag, as he always hid it in a raised collar. He wore sunglasses, jer
sey, wool ears laid and when he got into the cab, then ordered to raise the uppe
r hand. "
Character stated clearly, visually, a series of vivid details. It seems. It is w
ritten for an actor director, costume designer and assistant for details. At the
same time it is a concept and character. AI, as always in a good story, concept
nature quietly draws you into the development of the conflict. But surprisingly
, the development of the conflict in the first act, in turn, has a clear three-a
ct division.
In the first act declared Belikov conflict with teachers.
"... And he just pedagogical councils have oppressed his caution, suspiciousness
and his purely futlyarnoy thoughts about what's de in male and female gymnasium
s youths behaving badly ..."
"... So what? His sighs, moaning, his sunglasses on his pale little face like a
weasel, he crushed us all, and we conceded, wind down and Yegorov Petrov score o
n behavior, put them under arrest and eventually expelled and Petrov and Egorova
... "
And as soon as the conflict gained momentum, Belikov wins the conflict. The seco
nd paragraph appears as the second act of the conflict.
"We teachers were afraid of him. And even the director was afraid. Here, see, al
l our teachers - people thinking deeply decent, educated on Turgenev and Shchedr
in, but this man,
who acts always in galoshes and an umbrella in his hands the whole school for fi
fteen years. "The third act - a disaster - depicted in one sentence:
"... What school? The whole city! "
It is important to note that within the first three-act structure of the act of
acts of the dramatic situation of conflict. As soon as it developed before the d
isaster, there is a turning point. He pushes the action in the second act.
Now the development of the conflict will focus on three main characters: Belikov
, Varvara and her brother Kovalenko.
The second act. The arrival of a sister Varenka Kovalenko - can change everythin
g. Preparing the event - marriage Belikov. The conflict is moving towards disast
er. Belikov cornered. He is under stress - we must marry, but scary. His antagon
ist Kovalenko seized with hatred for the enemy. It seems that the wedding show s
omething unexpected. In any case, the parties to the conflict strained, and sudd
enly ...
The third act. Everything explodes. And it is not as we expected. But again, one

can distinguish three distinct phases of the blast.

3.1 act. There was a caricature "Love Anthropos." Belikov injured. "And then, yo
u can imagine ..." - writes Chekhov ...
3. 2nd act. ... Belikov and Varenka saw his brother, riding on bicycles.
What a spectacle plunges him into a complete panic. He did not sleep all night,
the next day feeling so bad that goes with the occupation, and in the evening is
strongly attributed to Varenka. The disaster prepared. Let's see how it will de
velop. That's interesting. It is mainly a dramatic scene, and its construction c
an clearly distinguish three phases (Act 3) the rapid growth of the conflict to
a complete disaster.
3. 3. (1) act. Belikov Kovalenko and start arguing about the dangers of cycling.
The debate quickly moves into contention.
3. 3. (2) act. The quarrel is growing and is included in the most dangerous zone
for Belikov: talk about authorities.
"Belikov turned pale and stood up.
- If you say to me in that tone of voice, I can not go on, - he said. - And plea
se do not ever expressed in my presence about the boss. You must respect the aut
horities.
- Did I say something bad about the government? - Kovalenko said, looking at him
angrily. - Please leave me alone. I am an honest man, and with the master, you
do not want to talk. I do not like sneaks.
Belikov fidgeted nervously and began to dress quickly, with an expression of hor
ror on his face. It's the first time in his life he had heard such rudeness. "
Now, the action came close to climax. Here, in the third and decisive part of th
e climax of the third act of Chekhov develops the last part of the conflict clea
rly and consistently in three small acts.
3. 3. 3. The action takes off rapidly to a climax in three steps. And the final
climax scene is built like a tiny three-act drama.
Belikov said that will make a denunciation. Kovalenko with complete contempt for
the scammer is valid. 3. 3. 3 (1 act climax).
"- You can say what you like - he said (Belikov. - AM), coming out of the front
on the landing. - I should just warn you perhaps have heard anyone, and not to o
ur reinterpreted conversation and something did not work, I will have to report
to the Director Mr. content of our conversation ... in its main features. I have
to do it.
- To report? Go to report!
Kovalenko grabbed the back of his collar and shoved, and Belikov rolled down the
stairs, rattling his galoshes. The staircase was high, steep, but he has come s
afely to bottom:
He stood up and touched his nose: intact if the glasses? "Heroes of the formula
has to get into the most worst situation.
3. 3. 3 (2 act climax), Belikov unexpectedly sees his bride. The problem is comp
ounded to the maximum.
'' But once in a while, when he rolled up the stairs, entered Varvara and her tw
o ladies; they stood at the bottom and looked - and it was awful Belikov all. It
would be better, it seems to break the neck, both feet. you become a laughingst
ock: for now know the whole city comes to the director, trustee, - ah. as if som
ething happens! - Draw a new cartoon and will end all that will be ordered to re
sign ...
When he got up, Varenka recognized him and looking at him funny face crumpled co
at, galoshes, not knowing what had happened, believing it himself, he fell unexp
ectedly, he could not resist and laughed the whole house:
- Ha-ha-ha!
And that booming, zalivchatym "ha ha ha" finished everything and matchmaking, an
d Belikov earthly existence. "
3. 3. 3 (3 act climax and finale).
After that comes the rapid growth in death. The path of the hero is depicted by
a conflict until the end. "Oh, he did not hear what she said Varvara, and saw no
thing. Returning to his home, he first cleared the table portrait, and then lay
down and did not get up anymore. "

Final swift like machine-gun fire. Shock - Stress - disease - death.

When you peer into the structure of the story, see the three-act structure, pene
trating into every line.
What makes this scheme? The fact that the culmination of the main character conv
incingly thwarted all the masks. Character expressed himself through and complet
ely unraveled. Belikov only death ascended to the happiness that is the key to h
is secret.
"... Now, as he lay in a coffin, the expression he had
gentle, pleasant, even cheerful, as if he was glad that finally put him in a box
, from which he will never be released. Yes, he has reached his ideal! And as if
in honor of him. during the funeral was overcast, rainy weather, and we were al
l in galoshes and umbrellas. "
Belikov - a man-death. Here is the clue. Well, maybe you have imagined that this
stunning passage of prose at the same time is a necessary structural element of
drama? It is called the "skeleton in the closet," and we'll talk about it later
.
These three stages of development - not that other, as the rational order of the
author's ideas. Art - it's all your personal area
order in a world of chaos. A drama - the procedure most tightly focused on the c
onflict, which has the appearance of an impulsive, unpredictable flow of life. T
hree-act formula gives a reference point for the implementation of this plan.
The issue of three-act, of course, fully harder than his summary, but enough for
a first acquaintance. We can now proceed to the very important concept of the d
rama - event.
EVENT
The film - a story that the characters tell their actions in the conflict. Hidde
n intentions of the author. On the screen we see a real life. As much as possibl
e while developing your ideas and vzolnovat viewers?
For a dramatic story as it developed itself, pushed not visible intentions of th
e author, and the struggle of the characters, it must consist of a chain of even
ts. In this case, the story grows in full accordance with our plan, but its ener
gy motor spins the conflict characters. Moving from event to event, we can creat
e the maximum stress in the development of history.
The chain of events in the film is usually composed of 30-50 events. It has iden
tified the Stanislavsky. Hollywood took this figure as an independent axiom. It
is tens of thousands of times tested in a variety of films. Proceeding from it,
the length of the event - from 2.5 to 5 pages script text. (In the world standar
d scenario has 105-115 pages. Write uboristo not like us.) And all the events ha
ve a common structure. It is useful to understand. This will help develop a conf
lict within the event.
Event - it is such a piece of history in which there is really noticeable change
situations.
It snowed. Everything was white and beautiful. It is not an event. But if the sn
ow has brought roads and the hero can not go to the target - this event.
The event should be full of meaning, which is revealed through the conflict of t
he characters. The greater the conflict, the more important event.
Event - it is such a conflict as a result of which we get some informative value
, important for the development of history.
Morning in the cherry orchard. LOPAKHIN awaits arrival Ranevskaya. The event is
brewing. And Ranevskaya appeared - young, happy to tears. It is the first time i
n many years, deeply inhales life-giving air homeland. And all around happy: my
mother arrived, the hostess arrived, a lady came to our gold! This event. Around
it, you can collect a lot of details, elements of the atmosphere. It is able to
captivate the audience emotionally. Until that moment, the estate was dead, and
now she came to life. There are all excited Ranevskaya. Her tortured soul like
happiness and got it. We got great value for the history: the manor is inseparab
le from Ranevskaya as hand, foot, eye. Ranevskaya happy here.
It is an asset for the drama. As with any value, the value of the event - it is
something that can be measured either positively or negatively. Love and treache
ry, force of will, anger, fighting a desperate situation, tenderness, overcoming

fear, rescue, survival, and so on - all that really changes the position of the
characters in the stories.
Each event contains only one conflict. It significantly changes the position of
the characters in the stories.
Cherry Orchard in bloom. Ranevskaya crying from this unusual beauty. The next mi
nute LOPAKHIN offers Ranevskaya cut down the cherry orchard, and thus escape fro
m poverty. She says "no."
That's her choice. Small, delicate conflict with Lopakhin - event. From that mom
ent her life rolled into the abyss. The event - a choice of character.
Further from event to event conflict will grow.
Events clearly outline the emotional value of the story. In the event of actions
of the characters appear in a real life environment details. They are imbued wi
th the atmosphere, mood, aroma life. It involves the audience in the world of ev
ents.
All our stories we tell from event to event. It was only when the story is built
from the ground up as a chain of events, we get a meaningful story and achieve
full emotional contact with the audience.
Event in any way not
It should be a miniature copy of metaphor or the history of film. This small par
t of the story, concrete, inscribed in reality. flowing "here and now".
Event - this is what happens to the characters of history. In the drama, the cha
racters appear only after the conflict. When the dramatic situation puts pressur
e on a person, he must make a choice, and how to do something in response to thi
s pressure. That is, it enters the event is character. This is what we can see,
understand and appreciate. The event is best helps it.
Hamlet guessed for carpet spy and stabbed him with his sword. This is something
to add to our understanding of Hamlet.
Michael Corleone decides to punish the murderer of his father. And to overcome m
istrust of the family. That is character! We did not expect this from this good
little boy.
Ranevskaya refuses to save his wellbeing at the cost of destroying the cherry or
chard. I think she understands that signed his death warrant.
This selection of the nature, immersed in real life, the event generates.
In a separate event, we do not need to understand its full meaning. The full mea
ning of turns in the story. The event, seen in isolation from the entire history
, should look only as part of the real world with its flavor and details.
Not every action of the characters is an event, but only one that leads to tangi
ble changes in the relationship of the characters.
The two men disliked each other. While this hostility lurked within each, it cre
ated problems, but this has not been an event. The event is being prepared, but
not yet. It matures. So far, the external relations of the characters have not c
hanged. They are sweet smile at each other, secretly cursing, but they look like
friends. And then they did not survive and fight, showering each other curses.
The conflict peaked and exploded event. Fight - event. Prior to her relationship
could be a deceptive kind of friendship. After her characters only enemy. Event
frustrated with the character masks. The conflict came out at the peak, and dra
matically changed the relationship.
Next story should be told as the development of open hostility. And here they ar
e at war, but everyone thinks, "What I got into a fight?
Only hurt yourself. It would be good to make peace. "They met and forgave each o
ther, embraced and kissed each other. This reconciliation - the event. Before hi
m they were enemies became friends after that. The story goes on ...
The event is especially important for the director and actors. Every event - it
is the highest point of the conflict that develops between the two (at least) ch
aracters. As a result of events changing the relationship of characters and can
not go back. Event - it's like childbirth after pregnancy. After the birth, ever
ything changed, and it is impossible to be back again pregnant by the same child
. It is necessary to live, to raise a child, to care for him ... Event pushes th
e story forward actions as attempts to push the pregnant child in public.
In the drama that played out on the 'method' of Stanislavski, the story is told

by the scheme:
Action = a ? Event = a ? Event = a ? action
Actions characters preparing event accumulate conflict. Event it explodes and ch
anges attitudes.
The event also should consist of actions. And it's always the most vivid action
scenes. This brightness we create an event surrounding the scent of life.
The event has the ability to concentrate around him different circumstances and
details.
Romeo came to the house of Capulet ball. Until he saw Juliet, the event is being
prepared. Romeo is hiding behind a mask in the corner among the guests. Here he
saw Juliet, is committed to it. He has met with the stranger in the dance, in t
he center of the room. I talked and fell in love. This event. Before Romeo had t
he same values, after I received the other - love and all that is connected with
it.
We are following the story of Shakespeare, we know that the meeting of Romeo and
Juliet - the main event of the ball. But, except for us, I did not notice
no one at the ball. Ask guests what was happening there?
- Stunning reception. Fun until the morning. The most spectacular event of the y
ear. Fantastic wine!
- I gorged like a pig. Well fed and well in these Capulet.
- To see everyone. I have done a lot of cases. Naplyasalsya till you drop.
- What a beautiful evening! Everyone was delighted with my new dress ...
Hundreds of people. Thousands of lights. Orchestra, bulls on skewers. Open barre
ls seasoned wine. Tybalt with security looks out there not in the house of enemi
es and hooligans? My father and mother did not quite appreciate children. Well,
who in the confusion of the holiday, tell, notice that in the dance, two young l
ooked at each other with a special meaning? Only Shakespeare and us.
One of the most important qualities of the event is that it is best to stick to
the details and the details of life. Events very well concentrated around himsel
f proposed the circumstances of the drama.
Come on.
At night, Romeo climbed over the fence, sneaks into Juliet's balcony, hear her c
onfession. He climbs up to the balcony and recognized his love for her. This eve
nt. It completely changed all the values ??of Romeo and Juliet. They are covered
with love, but love their families confront. And families are in mortal enmity.
The event is best drama dramatizes the main question of the film.
After the event the nature of the conflict gets what he wants. But not, as initi
ally thought, but how will the conflict. This creates unpredictability of events
.
Events and Information
All the information that we want to tell the audience through the events, roughl
y divided into two categories. The one who pushes the story forward - axis infor
mation. Ta. which creates an emotional climate, psychological depth, the accurac
y of the real events and psychological persuasiveness - information given circum
stances.
Axial information we seek to minimize. The less the viewer knows, the more he wa
nts to learn something new. And then, with that large
PWM voltage it is monitoring developments. Task teller firstly, axial strain inf
ormation and provide it dropwise through conflicts. Secondly, it should be remem
bered that in the drama of information - this is just an excuse for emotions. Ou
r main effort we use for the development of the history of emotions.
There is nothing easier than to give all the necessary information in someone's
monologue without event. Suffice it to two phrases, words to tell it. what we sp
end in the film main forces shoot dozens of shots with a complex technique, high
costs and a variety of efforts characters.
We need to know that the information that the viewer gets easily, has no value t
o excite the audience emotions. Such information does not involve the audience i
nto the world of film: the audience hears the words, but it does not cause its r
esponse. Structuralists call it "flashed Information": only 2% of the words utte
red by the characters remain in the memory of viewers. It is a proven fact.

"Continuing information", which settles in the memory of viewers and accumulates

, is associated with the actions of the characters involved in the conflict. In
order to help you to move information
screen viewers, it should be linked to the development of the conflict. Heroes a
re fighting, and you step by step with them get information. Then you live with
them.
BIT
The elementary unit of action in an event called a bit elementary unit of action
to achieve the goal. Action in the event goes from bit to bit through the devel
opment of the conflict. Because bits are added event.
If the bit is not successful, your character leads the world in order and uses t
he next bit.
Simultaneously, each bit - tiny event. I took a step toward the goal, overcome a
small barrier and learn something. Now I'm doing the next step towards the goal
. In response, the opponent makes a move toward its goal. I answer it to his ste
p to the goal ...
Each step is something tells us about the characters, and we human
Res action in conflict to understand the nature. Step by step, they are going to
target, and we are bit by bit we get the information about it. The question - t
he answer - the question - the answer - is how we receive information. If we are
interested to know what will happen to us and the answer to anything. Actions c
haracters that do not nourish our interest in the event, to not affect us emotio
nally.
The best information - visual. What we will see a much more convincing than what
we hear: we see the action, and it reveals the nature of better words.
Bit - is the smallest unit of structure within the scene. It is an elementary pa
rticle behavior that helps to get what he wants the character towards the main g
oal. We use a bit while it works to achieve the goal. If we build the event from
bit to bit, we have a chance to involve the audience in the emotional world his
tory.
The best way affects the information to the hard fighting, getting over obstacle
s characters in the movie. The audience with the voltage watching them and appre
ciates every drop of this information because it is red-hot emotions of exciteme
nt, expectation, empathy.
The ratio of actions and words in any case, shall not exceed the proportion of o
ne to four: 75% - actions understandable visually, without comment, to 25% - the
words that explain the motives. This ratio ensures our involvement in the world
of events. This means -pridumyvayte actions, words will make.
Event - this is the best way in which in the minds of the viewer keeps the emoti
onal information of the film.
If we are worried about the nature of action in the events of the film world bec
omes part of our own experience. The event - that is, information packed into ac
tion.
INFORMATION AND PROPOSED CIRCUMSTANCES
Example minimize axial data can be seen in any successful film. This postulate o
f popular culture.
Here, for example, black thriller "Seven." The villain killer commits seven murd
ers in the number of sins. First the police discover the body
in the apartment. Everything looks as if the fat man died. dropping his head in
a bowl of soup, perhaps a heart attack. Slowly, we stared at the fat body of the
dead and dirty decor of the room. A few minutes later it turns out that the fee
t of the corpse tied. Then, out of the living body was excised pound of meat. In
five minutes, we almost did not learn anything, but plunged into the atmosphere
of the film - a dark, slimy, dirty wet. hiding a vague threat. Ten minutes late
r, the police called to the next corpse. On the floor near the corpse coarsely w
ritten in blood sacrifice "Greed." Only then did the police returned to the firs
t apartment, and in the toilet tank to find the inscription "Gluttony". Now we,
like them, is clear. two brutal murders committed a maniac. Police, showing envi
able dullness slowly extrapolate these two victims in a series of seven alleged
murders. The third murder confirms their hunch. Meanwhile, half an hour has pass

ed, and our attention is stretched to the limit. We want to know who is the vill
ain? What will he do next?
And what we learned yet? Dirty streets of the city and gloomy room, tired police
, dreary rain. Not so little, when you consider that our attention is hypnotical
ly drawn to this mysterious chain of unexplained murders. Hypnosis creates atmos
phere. About the information we can confidently say that it is reduced to a mini
mum. And that at least is divided into tiny portions. Every piece of information
the police are making a great effort. And we are grateful to them for it. How d
ifferently we would have at least something out?
Here's another film, even more famous - '' The Terminator. "In the city from som
ewhere in the sky or out of nowhere dumped naked man. Behind him - the other. On
e chooses a beggar jeans, the other - killing the owner of jeans. One kills one
by All the other women who appear in the phone book as a Sarah Connor. Another c
hasing a killer. That's all. It takes half an hour, until we learn that one of t
hese two - humanoid robot. And another ten minutes until we realize that the rob
ot is almost indestructible. The ten lines of information give rise to a stagger
ing stunts, breath-taking chases, scenes of unusual tension that provided the fi
lm sensational success throughout the world.
All these chases, fights, stunts are collected in a chain of events. Each event
squeezed into our brain inflammation modicum of information. We want to know mor
e, and glued to the screen.
The question is, where is the master of mass culture so skillfully learned to ma
nipulate the audience's attention?
We answer.From Shakespeare. He is able not worse, only three hundred years earli
er.
The key scene of "Hamlet" - "The Mousetrap". Axial minimal information. King Ham
let must confirm a guess. But it is - the result of a lengthy investigation and
a turning point in the actions of Hamlet. After that Hamlet takes up the sword o
f vengeance. This important event. Information to get Hamlet to be extremely emo
tional.
See what great machinery of Shakespeare connects to the event. In the palace com
e busker. Hamlet rehearsing with them future performance. Gather all the partici
pants of the drama. In the center - Hamlet and King. It sounds specially written
music. Actors play performance. Everything in order. that in some moment of sus
pense King jumped in fright and ran away, and Hamlet triumphed in the investigat
ion of crimes.
Along the way, we learn a lot about what kind of actor's performance of Shakespe
are holds good, and some bad. We can see the bright figure of fun wandering acto
rs and pay attention to how you react to venture Hamlet court. All of this is su
rrounded by the scent of the core events of life.
What are the elements you are going to this event? The behavior of the King and
sharp drama develops in his actions. The same sharp peripeteia in the actions of
Hamlet. But in addition - action actors play design, declarer actors. The behav
ior of the courtiers. Their reaction to the performance and actions of the King.
Decoration of the palace, the costumes of all the participants, props, music an
d light. We see a big role in the artistic depth of the drama game offers the ci
rcumstances surrounding the axial concise information events.
All these have different directors looks completely different. These details are
shown not only culture and imagination, but also the uniqueness of the individu
al director. All of this material from which the events are generated emotions.
These emotions we develop through the information given circumstances. This info
rmation, in contrast to an axial well have much as possible. We can say, the mor
e you are together this information in a story, the higher the level of your art
history and film.
The event allows you to concentrate in the story maximum
amount of information about the given circumstances. In the event they do not fa
ll apart and create a harmonious design.
Offered circumstances - this is the amount of your unique personal experience of
life that you bring into the story. You are an artist as much as original and f
ull of life you made ??to the history of given circumstances. In the development

of the history of your mind and manifest professionalism. But no experience can
replace the personal wealth of detailed knowledge of life. Muddy and rough worl
d of history without knowing the details inevitably creates clichs.
It must be remembered that the world every story must be small, but capacious. I
f you know this world is in the details, you naturally will generate the exact c
hoice of events. Filled with expressive and fresh details, this world can count
on the emotional contact with the audience. He becomes richer, deeper.
The term "given circumstances" in the practice direction introduced Stanislavski
. He just changed the well-known expression of Pushkin: "The truth of passions,
feelings credibility in the alleged circumstances - that is what the mind of the
cereals requires a dramatic writer."
But in this case the circumstances are not only assumed, but offered, after the
story was composed and implemented in the production of the film.
Stanislavsky is widely outlines the range of what is to combine the director, ac
tors and spectators.
"Proposed circumstances - is the plot of the play, its facts, events, epoch, tim
e and place of action, the living conditions, our understanding of acting and di
recting plays, adding to it on my own. staging, staging, sets and costumes by th
e artist, props, lighting, noise and sounds, etc., that are invited actors to ta
ke into account in their work. "
If the audience believes the event: "Yes, so it was really!" - Offered by the ci
rcumstances worked.
The proposed non-trivial circumstances may contain fresh and modern idea. Once A
natoly Efros said:
- That would be to put "Hamlet" during a continuous carnival.
- Like this? - I did not understand. Gloom seemed inseparable from the tragedy a
nd philosophy. - What is there could be more fun?
- Rapid! King conquered, killed his brother and pocketed the country. All need t
o please, to cheer. But the main thing - he can not calm down.
Queen of him as a man from dying, and he squeezes it all the time. Walks - drink
ing and dancing. Healthy, arrogant, full of vitality. Hamlet conducts its invest
igation, tormented problems. A round the clock around mad medieval disco.
Here's the grain of the original design, which is heard through unusual circumst
ances proposed. All the emotional contrasts could increase because the dramatic
vicissitudes grow between sorrow and mindless fun, concentrated thought and mean
ingless farce nightclub in a medieval castle.
GAP
Opt out of the abyss
Everyone in life is to constantly jump over a precipice or a little hard to get
out of the big:
not enough money to pay ...
not enough money for a fur coat ...
not enough money for "jeep" ...
billion is not enough to become an oil magnate ...
I would like to earn more, but lost all ...
I wanted to learn, but between me and the institution of the abyss - a gap, kotoruyu dug another 53 candidates per seat. At my place! And they all want him to
take my place. I have to overcome this gap, to make a career.
There are magnificent work in the thriving office assistant at the energetic bos
s prushchego in VIP. But between me and the job gap - an act that disgusts me! T
he flaw makes doing ethical choices, she discovers the characters.
There are modest, but promising work. They need my knowledge. I got it because I
was behind a gap that I overcame
five years: 50 exams and hundreds of essays. Only in the film, we show that for
one minute.
In front of me a monster, with whom I fight. For me - a gap that I overcame 100
people before wanted to kill me, and where they are now ?! Bridging the gap rein
forces the belief in the victory of the hero.
As a rule, nothing is achieved as we want or intend. The road to the goal goes t
hrough the gaps. Drama commented only those recognizable moments of the life of

each. In the development of the drama energy gap plays an important role.
Brescia and Life Stories
The movie "Crew" is known to every Russian. Countless television shows, skits in
different programs, quotes and wallpapers of popular programs ... This is nothi
ng compared to the collapse of success when it was released. In small cities of
Russia it looked more people than were residents, because the children ran to th
e film for 3-4 times. In the big cities turn curled around cinemas pretzels ...
Surprisingly, the film had to die in the first days of filming. The gap opened u
p in front of us and almost yawning chasm swallowed us.
In the late 70s, I decided to shoot the first Soviet film disasters
"Crew". Money was scarce, but Aeroflot helped us. He gave huge free Tu-114, whic
h put forth to him all the time and got on the airplane graveyard at the end of
the Domodedovo airport. He could not move. And I decided, build directly on the
airfield scenery around the aircraft and the terminal blow up the plane and term
inal together. Such large-scale stunt, even if the Americans did. It will frame
century. And against the backdrop of a giant fire take off a lot of exciting stu
nt scenes.
Pilots have allowed me to build the scenery near the cemetery aircraft right on
the runway. She luckily stood idle in the repair and 4 months.
Encouraged, we rushed to work. But we are facing a gap in Moscow this summer pla
nned Olympic Games. On construction sites are well paid, and everything worked j
ust there. And our built scenery somehow. It fetches drunks planted for 15 days.
Before 11 am they were doing something, but as soon as the stores open vodka de
partments, drunk and lying on the grass.
It has been 4 months, and a gap opened her mouth. Hosts airfield came and said:
-Raspishites That after three days your stay on the runway would be a crime, you
could face a fine or 6 months in prison. The runway is ready.
- What scenery?
- We have to destroy it.
- But we have not yet completed. And then we need to take it for three weeks.
- Three days and no more. Sroem decoration, place roll up the asphalt.
And we have invested in this scenery all the money the film. We want to get shot
century. We are facing a complete defeat. But this time the threat is what is c
alled the adjustment or adaptation. We adapt to the reality of their desires, to
change their behavior.
We decided to start shooting sienna, when the fire had engulfed the whole scener
y. Who is there and plead: completed or not? And against the backdrop of a fire
blow the plane. It was a terrible compromise, but there was no alternative. Stil
l it remains a unique frame: Blazing airport explosion of the airplane.
To do this, we need to 6 tons of fuel: Charge 2 tons in the scenery, 2 tons will
pour on the field between the airport and the plane, fill with 2 tons of the ai
rcraft so that it tore.
Fuel had to come in 3 tanks. In the morning we are waiting for, but comes only o
ne tank.
- Where are the others? - I ask.
- Nothing else is. They say - a lot to ask. But less is impossible. The fire did
not happen. The time counter is ticking. Conflict strains. There was a new brea
ch. Again, it is necessary to carry out the adjustment, to adapt to the reality
of his desire to change behavior, to overcome the gap.
A single tank filled the plane, locked the door to kerosene has not disappeared.
I rushed to the studio to persuade superiors to issue funds from the studio has
4 tons. Economy-it was planned, it was distributed in advance. Buy fuel on the
market - it was a crime. Then the operator told me:
- I'm going to follow you for the office of, and they laugh: "There '' your 'dir
ector has just danced, played scenes. I laugh. "
This is me to convince them, what would be a fascinating survey: Frame century.
But he makes. They promised the next day to another two tanks out of stock.
Jumped the gap. We expect a happy outcome. At night, shooting scene without fire
. During the day I can not sleep. I feel - today we take the picture century.
Excited, the food at the airport, and roll back hard tankers. At the entrance to

the airport to meet me head of security. I told him:

- Come to the shooting. We will blow up the plane. You have never seen!
- Another one? - Asked the chief. - Be sure to come. And his wife, too, will com
e.
- Another one? - I did not understand. - We have only one aircraft.
- And who just blew another? It was very impressive. We have a little glass is n
ot poured.
- That can not be. We shoot at night ...
- The Joker - wagged his finger boss. - Get out your shooting is in full swing.
And I do see, at the end of the runway something
erupts and explodes with bright stars like fireworks. I want to say to the drive
r "faster", and I can not just hand waving. And then I see, running toward the a
dministrator. Runs - face white as flour.
- Do not worry! Do not cry, - he said, breathing heavily. And I do not what to c
ry - I can not hum. In her throat. Hand of a question mark in the air draw: "Wha
t?"
- The plane exploded.
Do you want to - believe it or - no, - by such news in me if something was cut d
own, and I instantly fell asleep. I slept, though only a few seconds, but do rem
ember waking up with a start - car stopped. I can easily and happily, as if I ha
d slept all night. In front of me a dazzling brightly lit aircraft. The aircraft
landing gear apply magnesium alloys. They are difficult to ignite, but with int
ense heat, they pour fireworks multicolored sparks.
However, there was a day. At night, when to start shooting, all burned.
- What happened?
Early morning fireworks opened the door to the plane, cabin was saturated vapors
of gasoline, and from contact with the air was spontaneous combustion. Such cas
es rarely happen.
All that's left - the unfinished decoration, three nights of shooting. And a lot
of waste produced tricks. It looked like a parody of the dream. We fell into a
hole. It is necessary to carry out the adjustment again and start a new bridging
gaps. People come. Should get you started. Hence, it is necessary to hide the c
onfusion, put a smile on your face and look confident master of the situation.
- Prepare for shooting scenery - say pyrotechnics. - We will shoot on a backgrou
nd of the fiery wall of the airport that will be possible. Burn it in three step
s.
Under the rules of the character once again cited the situation in order or adap
ted. Now he will take new action. And he hopes that the world at this time to wo
rk with him. Thus, the gap will be overcome.
All went suppressed. The only one who seemed genuinely pleased, was a major fire
. Still would!His fire was surrounded by a ring of water jet, no spark to not fl
own for decoration. For a whole month on the set of three fire trucks were on du
ty, and no case they were not. And suddenly this case - to save scenery. He imme
diately felt the main man, did not depart from me - a nice, full, rosy, just glo
wed with joy. He wants to give a person a mournful expression frowns - after all
people in trouble - but below
it can not help but smile a happy winner of fire. We ought to praise him, to say
as much now depends on the fire.
- Thank you, friends, firefighters. Today, we look forward to your help. Overnig
ht at shooting will not subsided, blazing fire. You can help us as never before.
- Yes, - he nods joyful fire.
- We will divide into three parts the scenery. And each part will be removed one
by one. This means that the decoration will burn for three nights. - I showed h
im three fingers, and he nodded:
- Yes Yes! - And he showed me three fingers.
- Against the background of the fire we will shoot a scene with actors and stunt
men. And you, fellow firemen, the back of the scenery watered the rest of the sc
enery, which in any case should not ignite. As long as we shoot in the first thi
rd of the background, make sure that the other two-thirds are not lit up. Then w
e begin to shoot the second third of the scenery. It will burn, and at this time

take care of the fire last third.

- Yes Yes! - Nods ruddy fire.
Closer to the night broke the fiery wall of the first third of the scenery. Shoo
tings.
First Frame: breaking the window frame on the left area crowded car.
The second frame: conflagrant stunt ran like a living torch - one of the pilots
threw on his coat, put out the fire.
The third frame: the pilot, hiding from the fire of the child, carried him out o
f the building.
I ducked to the peephole movie camera, watching the rehearsal. But I feel that s
omething in the frame wrong. as it should be. As if all the decorations inside i
lluminated.
- On what you all? - I ask the fire.
- Yes, - he nods happily.
- What is "yes"? I asked to pour water inside decoration.
- Yes, yes, - agrees to the fire.
- Water. - Yelling - pour on the scenery!
- What kind of water?
- Your! From fire engines.
- We have no water, - shrugs fire.
- What is not?
- So. We have it all poured out earlier in the day, when your plane exploded.
- And what is new is not scored?
- No one said.
- All evening you assert that it is necessary to protect the scenery from the fi
re. Are you listening, nod ...
Then the fire began to smile more broadly and said with embarrassment:
- Yes, you are saying something quickly. Play interesting, but impossible to und
erstand.
And I see that he is up to his ears filled with alcohol - took on the joys that
saved the scenery.
- Yes, you did not grieve. - Comforted me fire. - We are now fill it with water,
and return all extinguished.
Indeed, three fire engines were developed before burning the scenery and left. T
wenty minutes later, they returned with the water.
Decor at this time raging as Moscow under Napoleon. After an hour of it were lef
t alone embers.
It was a complete disaster. Then we got together and thought began to shoot all
different. But that's another story.
This story is similar to those that you often want to talk to the first comer, k
nowing that you have from the movie:
- I have a terrific material for the film! Take it and shoot.
No.Do not be deceived. It's just a case of life. Like similar to what we see in
the movies. But between him and the film abyss. The story for the film - a struc
ture that eventually becomes like a life. When all rules are hidden inside.
Amateurish knowledge, when you heard something, and something not, I have to hel
p you. It is important that all the rules work together.
Hero must confront antagonist superior force. The story should evolve from event
to event. Each event takes place in three acts, through turning points.
Subject to grow in continuous conflict with countertheme. Amid all this hero gro
wing, overcoming gaps.
This listing is not used to look like something intimidating - in fact, there is
nothing easier when you get used. A final effect is so expressive that, having
mastered the craft, you can not return to the illiterate amateur.
In this story, the fire will not work evil antagonist. Instead, a lot of differe
nt obstacles, not subject to a single overarching objective through. Therefore,
the hero does not show enough risk, courage, courage to overcome the gap.
There is no clear "point of no return," there is no crisis before the climax ...
In short, there is much that needs to be hidden in the structure, inside the hi
story of the conflict and tension of threads. All this, of course, you can enter

into history. In this, as in any other. But for this it is necessary to rewrite
the whole. But you can take these facts. You can invent the other
Gia. Facts for the history not mean a lot. It all depends on how we work with th
ese facts. It's just the story of life. To understand this alternative history o
f life, remember the brilliant Fellini film "8 1/2."
There, too, there is a director and in front of him a lot of insurmountable prob
lems. And as if there is no antagonist. In fact, it is: an angel and the devil a
re fighting in the soul of the hero. And all the gaps that occur all the barrier
s that grow, being centered one main problem - the theme of the film.
GAP AS ENERGY STRATEGY
Strategy stories designed for emotional contact with the audience, builds an act
ion hero in the direction of the target. All stories have a formula: "Someone wa
nts something, why he can not do?" It can not, because all the time something in
terferes. That "something" is called a gap. The strategy of stories in the drama
- is the way to overcome the continuing gaps from the beginning to the final.
The character starts to act when in front of him is kakayathe target. He is full of energy and I am sure it can reach its goal. But as soo
n as the character begins to act in the direction of the target, it turns out th
at the world does not want to cooperate with him.
I want to kiss supermodel Claudia Schiffer, but it is necessary to:
1. Become handsome like the great magician David Copperfield, her fiance.
2. Get Rich.
3. Become famous.
4. Meet with Claudia.
5. charm her. Fall in love with yourself. After this, a kiss is possible.
In principle this is possible, as long as you're young and alive. But really nee
d to do very much. Between you and Claudia is a gap created by the need to commi
t the act. Looking for something to do to win the circumstances.
One of the most ancient language that determines the energy of the drama belongs
to Aristotle. He drew attention to the fact that the actions in the drama are l
ocated between what is possible and what is necessary.
So far we have considered only the actions of the hero. But you're not the only
one who like Claudia Schiffer. You will have rivals, the other young and beautif
ul people. And the elderly, but with their business, which is not like your acti
vity. They have their own intentions. There are also plans for the most Claudia,
her mother and intentions, and many other reasons.
All of them are united in one thing: the reaction of the outside world. The gap
- is the gap between your desire and response of the world.
You expect one, but do not get what you want. This gap.
And the energy you need to jump over the gap. It is necessary to make the world
to cooperate with you. You gather all your energy and will. The risk to life and
jump fail. The goal is not achieved. Then again you collect the maximum energy
and goes to great risk. exercise all the courage, which are capable of. Jump and
again failed.
And you say, '' The third time I certainly will achieve the target. "And again y
ou collect all the energy to go to the maximum risk. You are charged a maximum e
nergy. And the audience, which is always watching you, too, charged the maximum
energy. She thinks "When will this guy to kiss Claudia Schiffer ?!" The audience
gets sick
for you. She wants the same as you. This suspense. And if you kiss, the kiss wil
l be on the lips of every viewer. So the story of overcoming gaps charges energy
. The gap - is the engine that drives the story. The greater the risk of the her
o, the more energized history.
First, we are working with minimum risk. In this way we involve the audience int
o the story. Then the attempt to attempt to increase the risk. Each following ac
tion takes more risk and courage. And every action viewers get new energy. They
are waiting, worrying more and more: when will this guy jump over the gap and ge
t what he wants?
His idea to kiss Claudia you turn into energy stories of how you achieve it. Thi
s happens in front of the audience. AND

it turns into an emotional experience of viewers. They see how you are going to
achieve this. They are going through all of your defeat as their own. You are cu
te, your goal is clear and close. Your risk is clear. Your energy is clear. This
is a dramatic story. What is happening here and now, when a character wants som
ething.
Questions from the audience: how he gets it?
Answer: overcoming one gap after another. If each subsequent gap over the previo
us one, requires more effort, more risk and greater courage - the energy history
will grow. Energy is born from the experience of history to overcome the gaps o
n your eyes.
LITERACY GAP
Gaps in the stories are arranged so as to identify the growth of the forces of t
he antagonist. They concentrate these forces.
Brescia identify growth themes and countertheme. Stage by stage antagonist shows
his growing ability and intent to fight to the end to kill the hero. It will mo
bilize all the forces of the hero to fight to win.
To learn how the gap works in a number of other elements of the structure, look
at an example of the breach that has been shown in one of the workshops on drama
in Los Angeles. There, unlike in Moscow, all people working in the film industr
y, are constantly learning and assure that it helps a lot. This example is taken
from a seminar for producers and employees of the big film companies. It turns
out that it is also useful to know how to operate the elements of the script in
the movie.
"Consider a little scene. Jake's character - a nice guy, maybe he's still a good
guy, but he became an avid player, he became a drug addict, who destroys his li
fe: he lost his job, had stolen money from his friends, borrowed money from ever
ybody , severed all ties, that he had. laid his mother's house, he must control
many pawnshops.
Let's start with the scene at the time when he has thousands and thousands of do
llars. He is in a desperate situation - these lombardschiki going to kill him. I
n general, he fled. He does not even have a car, he had sold it. He desperately
tries to borrow money from the last person to whom he hopes. It's his ex-fiance,
whom he bro
I force a year ago, because she told him if he did not stop playing, then she wo
uld leave. And he left her.
Jake goes to Mary to take her money somehow to pay off the people who are huntin
g him. As we begin this stage?
Imagine the scene in terms of Jake. The relationship between him and Mary has lo
ng torn, they insulted each other for a long time and do not want anything to do
with each other.
What would you do to meet that person? Would you call it, right? No, you would g
o to her house and tried to talk to her in person.
What will you do first? You cheer yourself mentally. How do you do? You crank in
my head: I'll say it, she would say it, then I'll say it, and she said so.
In general, you have to imagine a situation in which there is Jake. And all you
do is repeat, repeat and repeat in your head. If you are a good writer, then in
your head there from four to five scenarios. And everyone you scroll in his head
. You improvise, and you always have to jump through the gap. You need to make M
ary help convince her to do what she is, in general, does not want.
So, Jake goes up the steps to the house of Mary. It scrolls in mind what he was
going to say. He says to himself: I will remain calm. He climbs the stairs to th
e door and feels that his legs were shaking, he sweats. His body had betrayed hi
m, betrayed him. Before you knock on the door, he had found a gap between expect
ations and results. He did not calm, he trembles, he is scared, nervous. He's tr
ying to like to forget about it and put it aside. He comes up with arguments and
recalls all the kisses and hugs. Mary will save me. I just need to talk to her.
Before you knock on the door, he had already gone through some gap.
Now, he knocks on the door. He was not standing at the entrance, as it could be
a stranger, but not knock the door like Rambo without door carries a gun into a
thousand pieces. It makes minimal action - I just knock on the door. She let me

in and give me the money. He knocks on the door and waits. Then you hear the ste
ps, steps, steps, door gap appears eyes, and she asks, "Jake's ass, what the hel
l are you doing here? What are you doing at my house? Get out of here! I do not
want to see you go. " Suddenly opened the gap between expectation - knock on the
door - and the results are obvious.
But what he's going to do? The conflict develops, he needs to take a second acti
on - action that he did not want to take. He needs to go, but he begins to howl
and cry, "Please, Masha, for God's sake, let me in, it's very, very important, t
his is really important, you have to help me." He begs and begs her. She screams
the opposite: "If you do not look away from the door, I'll call the police! You
son of a bitch! I get out of here! "
Jake goes to the third act, "Call the police! My life is over, I'm dead! "He scr
eams:" Call the police! "And do not receive any response. She went into the kitc
hen. He must give up the idea that peace come into the house and get the money.
Then he leaves the house and thinks: '' That's when I'll be in the border area,
it will come and call me in the house. "He goes away, but it does not go out. Ne
xt gap.
His mood is flipped and he flies into a rage, ran to the door and knocks her sho
ulder. Two of the doors fly around the room, and he sees the eyes of Mary, which
is unlikely to give hope to borrow money from her. Then he jumps in the fifth,
sixth, I do not know what the bill,
action. He explains to Mary: "Mary, my God! They're going to kill me! They want
me to break both arms and both legs. you have to help me! "And he begins to expl
ain to her desperate circumstances. Of course, it is moved, because he understan
ds that we are talking about life and death. Instead, she laughs: "Yes, yes, Jak
e, I hope that they will break you both hands and both feet and your head, you b
astard. Now I go out of here! "
Now it is his turn to act. She put him in a situation where he has to do somethi
ng that he did not expect. He starts to cry, hugging her legs, crawling on the f
loor. He hoped that the tears will produce a certain effect. And they really ach
ieve what it goes into the hallway and returned with a rifle and aiming at him:
"Get out of here, or I vsazhu you a bullet in the forehead and tell the police t
hat you are a thief."
He looks at her, looks at the rifle and said, "Mary. because I gave you the gun
two years ago, the same broken trigger. " She says: "Yes. I know what the trigge
r was broken, but I gave it to the studio, and I fix it. " Again opens
the gap between them when she shoots the lamp to show that the rifle really work
s.
The lamp shatters, pieces flying through the air. He grabs her by the hand, they
fight on the floor, between the rifle, they fight and fight until the emotions
are not overcome them, and they begin to feel like two years ago. They make love
on the floor between the broken lamp door and lying next to a rifle. Maria touc
hed, she gives him the car keys. He leaves the house and she promises to return
as soon as he settled his life.
The whole scene - a huge gap, is not it? When we were on the scene, he thought:
'I'll get her money, "- and he really was going to get money from her, and recei
ved, but not in the manner he expected. He had a particular installation in the
head - to set expectations. He got what he wanted, but only when jumped through
a huge gap. Anyway, it was not like he had expected before.
Each piece in this scene - a small scene in itself, and each part of the scene a
t the same time is a breach. A knock on the door-that something will happen, som
ething else happens, scream - there will be something strange, breaking the door
- something happens, there is something else. Jake crying, Jake struggles with
Masha, Jake jumping over rifle. Every time a character takes action with a certa
in expectation. Each time the action takes place, but the result will be differe
nt, but not
so as they had expected. Thus, it is jumping over gaps driving history.
The character of his conflict in this scene are on all three levels - a conflict
with his own emotions, his own body, conflict with the person with whom he was
in a relationship with Mary, and physical conflict with the door broken rifle, a

lamp, expanding from the shot.

In this example, there are only two people. There is great scenery, explosions a
nd fires. But the charge of dramatic energy in it than in the case of life. Beca
use this scenario - the result of a competent work with lifelike pictures, where
emotions are achieved with gaps.
Now remember, we talked at the beginning of dramatic twists and turns. You say,
"This is almost the same as that gap." Not nearly, but quite the same. Only the
angle under which we look at the events of the drama, a little different.
Analyzing the dramatic twists and turns, we follow the way to develop the emotio
nal potential conflict. How to wake him up, how to focus attention on it as to b
ring to a climax and turn into the emotional experience of the audience. The dra
ma develops - it's emotional content gap. It gives a clear idea about the mechan
ism of emotions.
Just as flaws, from the very beginning to the very end to be the essence of emot
ional drama.
Just as the gap it from small actions lead us to a climax (us - it is the charac
ters and the audience together).
Just as flaws, it expresses the most important task and subject. In short, they
are one and the same development of the emotional potential conflict, but expres
sed in different terms.
Based on the dramatic twists and turns, you will surely develop the actions of t
he characters, overcoming gaps, from despair to hope. From misery to happiness.
BARRIERS
The barrier - is that the character must overcome, achieving the goal. Barriers
are inseparable from the holes. But the gap shows us the obstacles to the hero,
and the barrier gives the hero a chance to win the love of the actions of the sp
ectators. Barriers to establish the most attractive traits: courage, bravery, ri
sking their willingness idti'do end. If the hero in the history of overcoming in
creasingly high barriers - it draws us into the story.
Hero made barriers.
There is something else that the barriers are detected with great clarity. Conti
nuous series of barriers built into a single character through action.
- A continuous series of the same action of the antagonist is built in through r
esistance. Through the action focuses on overvalued idea.
Just as barriers hero, constantly evolving enemy barriers. They add up to a sing
le chain of counteractions enemy hero. Action and reaction are woven together in
to a single drama with growing energy action. It is the development of energy op
ened the Stanislavsky Drama. In his great plays he dissected through action and
confront him through resistance, and then pushes them to the conflict.
Put the heroes barriers, and you get everything else. Life is so arranged that s
omehow she dips into every shit. And nice to see a person like that is what it w
ill like a simple girl. Of course, if a director makes him overcome barriers. It
turned out to be a director, George Lucas, the creator of the great tales "Star
Wars."
In his first film, "American Sketches" unsightly pimply timid weakling took from
a friend on the day of the car to impress a new girlfriend. But almost immediat
ely the car was stolen, and the guy instead to enjoy life with his girlfriend al
l day desperately looking for a car. When he finds her, he was beaten from all t
he excitement he pukes, - in general, this is the worst day of his life. In the
end, the car was found, but she certainly lost forever. Who wants to be friends
with a guy who has not overcome any barrier? It is a pathetic loser.
- You what ?! - Says the girl. - You stole a car, you're beat, you vomit - so th
is is the most exciting day of my life! When we see each other again?
And the guy shoots from hell to heaven. He fought, he overcame obstacles and won
the main prize - a loving girlfriend.
We are in the movie is not playing the lottery "Win a million." Our values ??- t
his is love, courage, will to win, courage and compassion. And if the barriers p
ull it from the depths of nature, the viewer opens his heart to the hero. This i
s our win our million.
The actor can not win and three rubles, if the author and the director did not p

rovide him barriers.

Barriers, as well as any conflict productively unwind in three acts. They effect
ively act dramatic twists and turns from hope to despair. But there are still so
me not universal, but merely useful conditions activation barriers.
The first rule of 'divide-lovers, face enemies.
It is generally understood at the level of common sense. When the love around, a
nd they kiss in the direction of moving on to the scene, which can be on a TV sh
ow only at a later time.
If you need the conflict in love, you quickly make sure of lovers - is upset: th
ere are small, easy to overcome barriers. But if the lovers separate, they move
mountains. Ted - barrier. The disease - a barrier. Separation - a barrier that l
ove will overcome, risking their lives just to hug each other. And it will give
the history of a lot of energy.
Enemies away from each other klatsat teeth and sparks vent from the eyes,
When they come together - will battle for life and death, and then the barrier w
ill be piling on the barrier. The exposition of the conflict this barrier helps
armies opponents strike action plan.
The little story of a young Chekhov: three actors are wallet with lots of money.
You can enjoy winter to live yes to all three. But a skilled dramatist Chekhov
immediately creates a barrier, separating the characters into two groups. Now th
e conflict is growing rapidly.
One actor was sent for vodka. And in the absence of the other two plans, as the
kill and the third section of his share. And the third is buying the poison, inj
ect it into the vodka, the money went to him. When he returns. Two easily kill h
im, satisfied, they brought drinking vodka. Barriers separating characters, you
can quickly create conflict.
Barriers are particularly good in the climax. Effective action can be summarized
as barriers more generally: divide and face. Use barriers to breed character, s
train energy of the future and the contractions to push against opposing forces.
And of course, Shakespeare, we find the most efficient use of structural blanks
- the barrier of "Romeo and Juliet", 3 act of conflict. Romeo banished from the
city for the murder of Tybalt. Between him and his young wife, Juliet impermeabl
e barrier space. With this concise terms squeezes genius drama?
1. Juliet totally defenseless when there is a threat terrible sin - dvoemuzhestv
a.
2. It is the most risky way forced to take unknown poison limited duration.
3. Romeo is completely in the dark as the barrier is impermeable to Juliet lette
rs to him.
It will be hard to find in modern drama moment, wherever barriers effectively pr
acticed role.
No less effective barriers of time. When the timer hits a second before the terr
ible catastrophe, it breaks the rhythm, creates stress. Despair comes close to h
ope. Death breathes in the face full of life. Rare film today would cost no tick
ing clock on the hand on the wall, on the bomb. And if you're shooting a thrille
r, then no time to go to the press people simply indecent.
Build barriers on the rise - it draws the audience into the story.
First, a small barrier - Romeo saw Juliet and dances with her. Then taller - he
climbed over the fence of the garden of her home. Even higher - Romeo in the bal
cony. Let this scheme follows you everywhere - it is correct, because from one s
cene to the risk and courage grow.
PART THREE. ENERGY STRATEGY
The greatest danger lies in wait for the director - is to lose control of the fi
lm in the course of working on it. And this happens more often than it seems.
Francois Truffaut
FOUR structure - in the fifth. Merge
We can control the development of the film tension on the rise, using four crite
ria. Together, they lead the film to a climax.
1. The three-act structure of
It acts as a structure inside the structure, inside the structure, inside the st
ructure ...

That is, the film has a three-act the whole development. Every act in itself is
a three-act development. And each event in itself develops in three small act. T
his development ensures that we increase the maximum concentration
conflict and fear of circulation. That is, on the action to marking time.
The film is narrated by such a scheme, to flourish, that is, with the increase o
f tension in history.
2. The dramatic twists and turns
This structure controls the emotional content of the conflict. The continuous ch
ange of the movement from despair to hope, and from hope to despair grow, as was
noted by the ancient Greeks, the emotions of viewers.
This structure is like a cardiogram emotional film.
3. Gaps
The structure of the holes allows to control the gap between the desire and the
need for immediate action. The gap - a hole that you dig enemies. It contributes
to the continuous development of all the forces of the antagonist.
The continuous series of holes in the film causes the hero to exert every effort
to overcome the gap.
Brescia - productive formulation that combines a variety of society's response t
o an action hero. It forces the hero to respond to the growing counteractions an
tagonist forces. We must
be able to present the story as a way of overcoming the gaps on the rise.
4. Barriers
As well as the gaps, monitor the increasing difficulties in the way of the hero
to the goal. But the barriers are best determine the price paid by the hero. Pri
ce risk is measured and courage. The whole story can be described as the movemen
t of the target through the barriers.
With the barriers we describe the efforts of the hero: his mind, will, endurance
, cunning, energy, courage, and so on. D.
These four parameters are measured the same thing - the development of the confl
ict in Drama. But they look at the conflict from different angles, as though fro
m different sides illuminating it. All allows you to see the whole history of th
e volume, do not miss the opportunity to develop its energy.
But there is another definition. It is more subtle and comprehensive.
It absorbs all four definitions using them. This definition has the greatest cre
ative potential. With it, we most fully develop the conflicts of history. It is
the most complete history of the control of continuous growth, squeezes out the
history of the maximum possible.
It's like a strategy of emotional contact and film viewers. It consists of five
elements:
1. Exposure and flash interest (impelling incident).
2. The progression of complications.
3. Mandatory scene.
4. Crisis.
5. The climax and ending.
Not much if all of this? At most times. If we work in this structure, we are at
every moment we know how and where to move on.
Control by the structure - it is not art history talk, "it seems to me", "I love
", "I would have done differently" ... No. This specific operating system. You c
an not hammer a nail with a single blow, with five hammer. But you know where th
e nail went into the board according to the most hat.
A five-story structure of energy is quite complex and subtle system.
It is useful to dismantle the structure of the example of a five simple and funn
y story. More specifically, the history of that famous
comedian says Gennady Khazanov as a case of life. And then we deal with this ser
iously.
DISASTER Hazanova
In 80 years, Gennady Khazanov toured in South America as an entertainer team the
n Soviet stars. The Iron Curtain had just parted, Russian was a novelty, and fiv
e thousand rooms winter stadiums and sports palaces completely sold out in advan
ce.

Khazanov had to open the concert. Naturally, all the stars are worried. At home,
they - as living gods, the audience meets with applause. Declared: "Kobzon sing
s!" - A hurricane encounters output. And then at the other end of the earth one
of them had never heard. As zapryazhesh, and you go. This is an informational mi
nimum that we need to learn in the exhibition.
And straight to the point - we are preparing a flicker of interest: Hazanov lear
ned his entertainers in Spanish. In addition to these words, almost does not kno
w Spanish. Following learned the text, he turns to the audience:
- Do you know who I am? Do you think an entertainer? No, I am a graduate of the
Culinary College ...
And after going reprise that at home laughing always caused avalanches, waterfal
ls laughter. Success is guaranteed.
But here, in the distant Argentina, he is in the image of a shy young man manic
known in Russia everyone asks his illustrious trembling voice:
- Do you know who I am?
And from the audience someone shouts:
- Faggot!
Hall deafening roars. All looked forward to that answer Khazanov. This is the fl
ash of interest. The dramatic situation turned the familiar balance. The fate of
the concert will determine the answer Hazanova.
Kobzon, who has to sing right after Hazanova shouts from behind the scenes:
- Gene, answer it!
Khazanov, in the hope that the situation is somehow resolved itself and he will
jump through the gap, repeats the question. All keep silent and live habitually
roll on nakatannomu channel.
- Do you know who I am?
- Faggot! - Repeats the unknown.
And the audience laughs bitterly. It turns out that they have a traditional joke
.
Masculine Kobzon perceives this as a slap in the face.
- Answer it! - He shouts. - If you do not answer, I can not sing! Alternative Fa
ctor earned. If Hazanov not immediately respond, he'll be in deep shit, not only
the audience, but also to their. He must act immediately. The time counter is i
ncluded in the second. He must act with the risk and courage, intriguing viewers
. And Hazanov jumping from the stage into the hall and resolutely goes to vote.
Starting the third stage - the progression of complications.
The progression of complications developed in several steps, it does not allow s
mear conflict. It is annoying him. The situation of the protagonist has to get w
orse with every step. And it gets worse. On stage, the actor king and master of
the situation. It is protected. He is above the audience. And in the hall, he eq
uals. What is an equal! In a foreign country, almost without knowing the languag
e and manners, he is a nobody. It all depends on his ingenuity. The conflict dev
elops as improvisation. The audience strained - pure suspense. Bullfight - Spani
sh favorite pastime. At this time, it promises to be bloody.
Five thousand room held its breath, hear just how Heels Ha
again knock on the concrete floor. Wags closer. And Hazanov sees. it's a hefty l
ad who looked butcher slaughterhouse. And the butcher clenches his fists. What w
ill happen? A fight? Stabbing? Murder? Who knows these Russian wilderness of Sib
eria, on the other side of the earth ?! Maybe they just wash away the insult wit
h blood? This is the orientation of the structure towards the obligatory scene.
Real opponents is inevitable. Only the mandatory scene can resolve the conflict
face to face head-on. The goal is getting closer. And in my head Hazanova no ide
as, only alone beats: "Faggot ... ... fagot fagot ..."
And it is clear. that viewers identify with her, not with visiting artists. Merc
y will not. Hero in the compulsory stage must win or die in a straight fight wit
h the enemy. But the chance of winning almost there. What to do? Offend the enem
y, running into retaliation,
disrupt the concert and get to the hospital with a broken nose? Or spit on the v
anity, remove the mask and show the audience that he was just an artist. No risk
, but do not have the courage. This is the same defeat. Insulting graduate of th

e Culinary College, everyone expects that he will fight. But how? This is a cris
is:
the character must make a decision - to surrender or fight with maximum risk and
courage. The hero must meet the expectations of the audience, but not as they e
xpect. And the hero passes the point of no return.
Khazanov comes to the butcher. Here it is almost next door. Butcher clenched his
fists. Everyone held their breath. Khazanov jumps to the butcher on his knees,
hugging him and the whole room shyly and gently says into the microphone in the
image of his character:
- I hope you too?
The hall explodes with laughter and applause. Behind the scenes of jubilant arti
sts. The next day the newspaper wrote that Khazanov in an instant became a natio
nal hero. Not to mention the fact that all the artists had a triumphant success.
This is the "end of the story, unsaid until the end" - also a structural element
of the fifth stage.
A short episode includes in its simplest form all the elements of a five-step st
ructure. He reminds us that the structure - not a theoretical fiction, but the r
esult of the selection of situations in life in the most productive development.
If you can film in the hour and a half to develop their story, following this s
tructure - "the city will be taken, and all of your bride."
I remind members.
1. Exposure. The amount of knowledge allows without delay to begin the story and
establish a normal balance.
2. The outbreak of interest. Suddenly everything turned. One single action intri
gues us. What happens now?
3. Progression complication. With each step, the hero more dramatize the situati
on. Each step leads to disaster. The crisis puts the hero a choice: win or die i
n the struggle? fight or surrender? to be or not to be?
4. Mandatory scene. David fought Goliath. Hero fought with his dragon.
5. The culmination and final. He won, but not so. as we thought. He lost, but ou
r hearts are given to him. We are delighted with the hero.
A five-speed strategy controls three of the most significant aspects of the film
.
1. Emotional development history from the beginning to the climax and finale.
2. The emotional contact with the audience.
3. Development of the main conflict in the maximum and subtle manifestations.
Not so little. This structure can be called a strategy of the energy of the film
.
CHARACTERS IN THE STRATEGY
Characters should, firstly, have the qualities that enable them to act and be co
nvincing.
The question that we care about: what moments in the life of the character of th
e most important for the story?
As a rule, we know about their characters much more that can accommodate story.
What events to choose? The answer to that gives the structure. It helps to selec
t and to make the best strategic sequence of the most important moments of the l
ife of nature.
The essential question that you always want to decide where the character has to
start acting? The answer is; immediately.As soon as the story, for 2-3 minutes
on the delineation of the atmosphere - and submerge the character in conflict, t
ipping it in a no-win situation dramatic. Let him show himself in the case.
Remember how started the movie "Leon"? 3-4 of travel to New York, photo some thi
ck faces in full screen and the voiceover: "This type of need to call to order.
Do it, Leon. " We almost did not see it, Leon. Only one eye through large glasse
s. But he is one surrounds the whole gang, kills one of heavily armed guards. He
is everywhere, like a magic cockroach crawls out of any slot. We still do not k
now about it, and so willing to believe anything. By the end of the episode, we
know - he's a terrific pro-killer. We believe in it. It acts convincingly. And t
hat's all we need to know about it, that history has evolved. Then we learn that
he is alone, he's a big kid. It is therefore natural that he loved another lone

ly child - Mathilde. Again, this all we need to know about it.

- No! No! No!- Scream writer. - First, we have to show the audience the living.
To do this we need to live their lives for a while. Create an atmosphere, to sho
w the character traits ...
For narrative prose is natural. The script is performing poorly. It's the end of
the operation, when the script is written, delivered, played by talented actors
, filmed gifted operator, mounted and music sounded - then we will see on the sc
reen of living people, the fruit of our imagination come to life. But it will be
a novel written by a lot of people together. And when we start in our hand beat
s the heart of the story, which gradually acquires flesh.
EXPOSURE AND CHARACTER
Nothing describes. Make the characters act and achieve some goal. All we need to
learn about them, to be manifested in this fight.
- You bastard! - Says the hero. - This is a coward as he was in the first grade.
Take the gun in his hand and defend!
- I do not know how to shoot.
- Then take a shovel and beat with a flourish.
So we learned that heroes went to the same school and familiar life. One shoots,
the other can not.
But there is another option. They met at the station, got to know each other, em
braced:
- Oh, Peter!
- Kolya How many years we have not seen?
- 10 or 12 years.
- And how many years we know each other?
- Almost 20 years lifetime. Well how are you?
- I do, live, married with two children. And you?
- I'm a bachelor. From the army came. Served.
- I did not serve. White ticket. I do not take the rifle in his hands. The only
weapon that I own, - Shovel. Both the garden ...
What do you think, which of a ? two scenes more energy?
We must immediately catch the viewer to put him on the hook. He had "run" for us
. sitting in a chair cinema. It will be interesting to find out who this guy is,
do things. Tell me about it only what is necessary for action.
Gradually, step by step we will get all the necessary information. It is contain
ed in the actions. It can crumble and crumble little by little at least two Ak
Ta. For the latest information you can give the audience before the climax. More
over, the most useful tidbits to give exposure to the very end. Let the audience
will want to know some secrets that guess.
But what about the three-dimensional characters? As with the depiction of the sc
ene. environment, the atmosphere?
All this can be done on the road. Start moving. As Lenin said: "The main thing to get involved in a fight, then we shall understand. ''
In principle, there is exposure to arrange the pieces on the board, understand t
he rules of the game and only then begin serious attack. But when the exposure l
isted many facts and they do not tell, we lose energy. Facts alone do not mean m
uch. History gives them meaning and value. In our power is the accumulation of f
acts turn out boring narration in an exciting adventure. This, in fact, entered
the craft of the narrator. Let the characters begin to achieve something like th
at, that they should get. And in the fight for this 'something' we all know. We
should be. You will recall that in the drama of every value we get only through
conflict. That, and create conflicts for any occasion. Simply put, do not descri
be, not illustrated small introductory observations character traits. Climb into
a fight once.
INVISIBLE EXHIBITION
The problem of involving the audience in the history of the world is. to tell he
r, without being distracted by circumstances alone offered.
We can, for example, looking at the poor lonely girl in her room, with her sort
out her simple wardrobe. She chooses a long dress for an important business trip
. But worn shoes and dresses out of fashion. Finally, she puts on something, she

looks sadly at a photo of poor parents. The pope in his grave, lonely mother, b
rother in uniform. Her life briefly described photographs and wardrobe.
But you can make it run right down the street to the departing bus. last minute
heel hit the gap and broke. The bus left. Girl in despair. Then she helped get t
he young man. He picked up the broken shoe worn. Embarrassment and shame make th
e girl more
more beautiful than it was before. They looked at each other ... The story began
.
This is the beginning, maybe not better, but more vigorously. Information suppli
ed to the target in motion, in action. In principle, it is more productive: the
exposure information as it dissolves in the actions. It becomes invisible.
Exposure and a turning point
The energy history is enhanced when the new information from the exposure action
turns in an unexpected direction. The character reveals his secret, and it make
s all to take some action.
A friend came to visit a friend of youth - the deputy of the Duma, who had not s
een for many years. He calls his friend and his wife to a weekend break at the l
ake, fishing in a beautiful, wild place. A deputy can not go, he painted every h
our. Other plants in the deputy's office, opens his jacket: a vest stuffed with
explosive bullets.
- Take my wife, daughter, get in my car and my garbage out of town. I'm looking
for the police, and the machine is not only deputy inspect. Do not do - blow up
the whole house.
I do not know whether this is good, but invented, based on the stated rules: exp
osure should rotate story.
Another way - this accumulation of facts exposure to critical mass and turning i
t into something radically changes the fate of the characters.
Chekhov in "The Name Day" creates a balance of action and proposed circumstances
with completeness, enviable for today's professionals.
"After a birthday lunch with his eight dishes and endless talk, birthday wife Ol
ga went into the garden. Obligation continuously smiling and talking, the clatte
r of dishes, stupidity workers, long intermissions and lunch corset which she wo
re to hide her pregnancy from the guests, wearied her to exhaustion. She wanted
to get away from home, sit in the shade, relax on the mind of a child who was bo
rn to her two months later. " As you can see, provided the circumstances immedia
tely draws us into a dramatic situation. And further conflicts of Olga becoming
harder. Offered circumstances to accumulate a critical mass. And as soon as the
guests disperse, all at once it falls abruptly turning family paradise in the di
rection of the arrow "to hell."
Successful radio commentator in the film "The Fisher King" with a cheerful cynic
ism urges listeners to unleash their instincts, to disregard all the rules. Comm
entary is simply irresponsible chatter. But a crazy fan of killing five innocent
people in the bar. And it turns the life of a commentator. Facts have accumulat
ed exposure to turn history in an unexpected direction. This makes the invisible
exhibition, she seemed to dissolve in the unexpected.
What we, in fact, the beginning is imperative?
We need a dramatic situation, which would call the hero on a journey.
It should outline the initial connection of the characters. It is only at the le
vel of the surface characterization.
It is necessary to set the atmosphere of action and identification signs of the
genre. To the audience he knew that he would.
Once, many years ago, under the previous regime, I handed over to the State Film
Committee has just filmed. And the chief was outraged:
- What it is? I cry or laugh? Explain!
- It is a tragicomedy. Such genre. They cry and laugh.
- There is no such genre! There are genre - comedy! And there is a genre - a tra
gedy! I learned, I know!
And it was one of the first tragicomedy "Burn, burn, my star." Head can be persu
aded, you can argue with him. A with the audience will not argue. He should get
a solid genre setting: to laugh or cry, terrified or relax in the romantic thril

l. Installation - this is also a function of exposure.

FROM EXPOSURE TO HEAVEN OR HELL
If you drove your heroes tirelessly all previous half hour, you risk to save a b
it of given circumstances.
But if you are skillfully balanced between actions and micro-surveillance, you w
ill accumulate a lot of signs of which there is in the imagination of the audien
ce three-dimensional picture of the world of your heroes. In this world it is ne
cessary to restore order.
For what?To viewers could settle themselves in the bodies and souls of heroes. T
his settlement is called "empathy", and we have already dismantled.
Attitude of reality to the world of film - metaphorically. This means that as sh
own in the film world looks like reality, but it's part of the reality that you
attach a special meaning. It is a metaphor of reality - the part that looks like
the image of the whole. No matter how small corner of the world shown in the fi
lm, it exists as a closed microcosm.
This is a separate world, a lively imagination and your will. You install it in
your own personal order and inform the audience of your personal values.
The film - a world of your art.
And the art - it is an area of ??your personal order in the chaos around you. Vi
ewers have to be fully oriented in the world and with maximum energy involved in
it. It is in their and your interests.
We already know that there are three levels of power spectators:
1. Curiosity.
2. Empathy.
3. Suspense.
In our interests to seek empathy and suspense. To do this, the viewer must be in
the same world with the character. He must accept and share the values ??of his
world view, understand what is bad and what is good in this world.
All the proposed conditions shown in the film, it is helpful to polarize. One ad
jacent to the center of Good. Other - to the center of evil. Good Center - is th
at close to us, of course, love. Something with which we associate their dreams.
Center of Evil - Hell is the universe of your movie.
Even before the outbreak of interest arise, we need to emotionally assimilate th
ese values. Hence, they must be displayed in reaction
majoring clearly and convincingly. As a rule, they have to find imaginative solu
tion. Because the idea of ??the drama is absorbed better when it is found to emo
tional plastic image.
Chekhov, as a rule, immediately gives a visible or palpable concrete vision cent
er Good. In "The Cherry Orchard" he cherry orchard - a paradise where heroes ten
d to relax a wounded soul. In the "name day" paradise small universe stated in t
he second sentence of the story.
"She (Olga) got used to the fact that these thoughts (about the child) came to h
er when she was a great avenue turn left onto a narrow path: here in the dense s
hade of plums and cherries dry twigs scratched her neck and shoulders, sat on th
e Web face, and in his mind the image of the little man grew indeterminate sex,
with obscure features, and began to think that the web is not gently tickles you
r face and neck, and the man: when at the end of the path was shown a liquid fen
ce, followed by a pot-bellied hives cherepyanymi covers when stationary, stagnan
t air began to smell and hay and honey and hear gentle hum of bees, the little m
an really mastered Olga Mikhailovna. She sat on a stool near the tent, woven fro
m vine and takes to think. " Paradise - it was her unborn child. He will be kill
ed in the climax. From this designated heaven before the outbreak of interest is
an unhurried way. But for those 15-30 minutes were sluggish, devoid of energy s
tory, all proposed facts useful to engage in the story.
First, we can tell podsyuzhet. like sub plot or even a few podsyuzhetov a common
goal. With these podsyuzhetov we define our common microcosm centers of Good an
d Evil.
In the '' Name Day " center of evil slowly arises as a result of a number of sub
jects, and define it is not so easy. Usually Evil center placed among the antago
nists. It is the center of the enemy, the center of the center of Good threats.

In the drama, we have to have an antagonist. In prose - not necessarily . The ev

il that kills a child is in the hearts of husband and wife. This is petty, vain,
a negligible part of their soul.
The dramatic story is often a major internal conflict. Then the field is dramati
c struggle - the soul of the hero,
where fighting angel and the devil. In the soul of Olga - small imps jealousy, r
esentment, vanity against the angel - the child.
We must always find and visualize the center of Good and Evil. This clarifies th
e complexity of the picture of the world and helps to bind the viewer emotionall
y and characters. Spectators always identify with the center of Wells.
CENTERS OF GOOD AND EVIL
Old Masters Hollywood solved the problem of the centers of Good and Evil with gl
itter. They knew that the film will be shown worldwide. In China, Uganda, Russia
or may not know anything about the situation in Chicago in 1929. Centers of Goo
d and Evil will set the value of this world. And here begins the film "Some Like
It Hot." Some people carry the coffin into the hearse. They were persecuted by
the police. Hearse gaining speed. The police is not far behind. Then out of the
car shot the deceased. The police fired back. From the hole in the coffin lashed
alcohol. Any spectator will understand: in Chicago on the 29th, the police purs
ued traffickers alcohol. We immediately understand where the evil of this world.
Then reduce these criminals bloody scores with their enemies from a rival gang.
And along the way they want to kill the two musicians, funny, nice guys. They r
un away, look for opportunities to escape. Naturally we sympathize with them, we
are with them, they - our center Good. Once this is established, there is OC
lepitelnaya Marilyn Monroe, and the film is gaining momentum. The centers of goo
d and evil are determined, it is possible to tell the story. The viewer is alrea
dy in our hands.
Sometimes, to establish centers of Good and Evil have to spend a lot of effort.
But it is always justified. In an industry that does not skimp on.
Legendary undies, beloved worldwide film 'Casablanca' shows the characters actin
g in an unknown world far from all, especially from America, to some seedy Casab
lanca. It is stated as the point from which you can go to heaven - America . It
lies on the road from Hell - Nazi-occupied countries.
Thirty minutes and three podsyuzheta full of imagination, wit and fascinating ev
ents, spent on something that we understand with absolute clarity the balance of
power between heaven and hell movie. But all of this - a complete fabrication w
riters. There was no Casablanca. It was not the only thread from Europe to Ameri
ca. From the Nazis fled in all directions through 360 . Casablanca.Visa, which ca
n not be undone - it's all conditional elements of the language of drama. When w
e learned them, there was a divine Ingrid Bergman, and the beginning of the main
story - Humphrey Bogart and her.
The "Godfather" is a criminal empire. In this film, one and all - the criminals.
As in football - every single play down. Head of the family, Don Corleone - the
main culprit, his children - the criminals, the lawyer - criminal, friends - th
e criminals, the police - criminals, the artist - the servant of criminals. Mean
while, the film sincerely love the hundreds of millions of viewers in all corner
s of the Earth. Are we all so love criminals?
Nothing like this.This film is not about criminals, but about the most ideal fam
ily, where the father and children love each other. Where everyone is willing to
help others and to do everything to save others. This film is about a family in
which everyone wanted to be. It's about family values ??- the foundations of so
ciety. Crime - is a metaphor, the language of art.
Center for Good this movie - the family. Center of Evil - those who want to dest
roy the family.
Once this is established, it begins the story of struggle and transformation of
Michael Corleone from angel into a devil. But while it is installed, we entrain
three podsyuzheta.
1. Family Holiday.
2. The introductory story about a contract actor in Hollywood.
3. The outbreak of war families because of drugs. They brought us to the flurry

of interest. Examples of how the outbreak of interest after determining the cent
er of Good and Evil. we anFluorescent we see in our lives when the crowd of fans at the stadiums or rave p
arade through the city, waving flags, followed by a tense police. The supporters
emotionally platoon. Their focus Good inflamed hostility toward the center of e
vil.
Starts football, and from the first second clear who was fighting with someone.
These in white shorts and red T-shirts - the angels, this is my team good guys.
I am a fan of them. And these black shorts and yellow T-shirts - the enemies of
my team. I hate them.
Cinema - art is not less conditional than football.
Beginning of the film, on the left - one in a toga, the other - in a fur coat, a
third - naked, but wearing a hat, the fourth - in the fire helmet. What strange
, exotic people! Who are they, what are? Where there have
are good, where an evil? By the middle of the movie, I could hardly understand w
ho is my friend, who is an enemy. And only when we realize that, my thrill begin
s. But half the picture went by.
Our Russian world for a long time, three generations, was a microcosm of the Sov
iet separated from everyone. And we are not accustomed to determine a universal
clearness in his films the world of good and evil world. We about us and so ever
ything is clear.
As an alternative, you can lead the Russian "Ballad of a Soldier" Chuhraja. Cent
er of Evil once labeled clearly, visually and emotionally very clear to universa
l. This brutal war and its image - a pile of enraged metal - tank, equally hosti
le to any living person. And the center of Wells - two young guys, gentle and ch
aste love with each other. Gradually, the center expanded, and includes the youn
g officer, and one-legged invalid, and his wife ... In short, everyone. who gets
into a zone illuminated kindness film. Circle of Good expanding until covering
all the land to the horizon. Just? But this simplicity has conquered the whole w
orld.
When viewers look at the screen, their subconscious is constantly looking for an
d sorts of characters on the most basic level. Who's the good guy? And who's bad
? They do this because they have to perch oneself for the good guys, go on with
it. root for him. It is a natural human need for identity. Anyone who identifies
himself with the good. And looking for any sign that helps him feel the first c
enter of Dobra, and then instinctively resist the center of evil.
ONE simple action
History best interact with the audience, if it starts right away with one simple
action of the main characters. Dal-222
shte first step is wound around a tangle of dramatic situations, podsyuzhetov. m
icro-surveillance ... We make the next step, another, another ... And do not not
ice how completely immersed in the story and the characters are surrounded us, f
illed all our attention.
The classical start of "The Inspector General". Hungry Khlestakov want something
to eat, and be mistaken for the auditor.
Ranevskaya arrives at the estate where she was five years old.
Romeo saw Juliet and fell in love at first sight.
Shadow of Hamlet's father announced that Hamlet should punish murderers.
Othello Desdemona's handkerchief found.
One simple step at the beginning of making a first turn of the wheel of history.
After that all the wheels start to move, interact with each other. You thus use
your allotted hour and a half in the best way. All time is to ensure that ignit
e emotions of the viewer on the way to a climax. All the wood you throw in a fir
e. And the climax of fire flames rises up to heaven.
One simple action in the exhibition helps to create more clear structure, where
the viewer wants to know more details and thus drawn into the circle of emotions
of the characters.
Detectives found the body of the victim, who was killed in a strange way ("Seven
"). Then another and another ... The story twists.
The man got into a traffic jam. He throws the car and walking to your destinatio

n ("I've had enough").

The band returned to the town, which a few years ago, the sheriff drove ("Midday
").
A flicker of interest, it also encourages ACCIDENT
Strategy for the beginning of the film for the first 20-30 minutes - the movemen
t of the plot to the outbreak of interest. Everything in the film is moving towa
rd this goal. In international terms it is called "insayting incident" - in clum
sy literal translation "initiating event" or "energizing event." He seems to set
the exact direction of the development of interest in the film for the entire r
emainder of the term until the end. It also excites the interest of spectators,
their desire to understand and know what it is, how it will turn what end? And t
he characters are initiated task to cope with unexpected problems.
In this event, all the previous as it suddenly flipped and
there is a flash of interest to what happens next. World blown character of this
outbreak. All the usual balance of power is broken and upside down. The story t
hat slowly floated to heaven, suddenly rolled upside down to hell. Now until the
end of the film the characters will try to regain the lost paradise. imbalance
of equilibrium.
Outbreak of interest with maximum fullness involves the audience in the world of
the characters of the drama. It forces us to overcome superficial interest in t
he characters, peering into the deep essence of the characters. What is the mora
l and ethical choices will make a hero? How long will his spiritual strength? Wh
at it will take in the struggle, a choice of actions between meanness and nobili
ty prefer?
The flash of interest in a three-act structure of the conflict means that the ac
tion of the first act, turned in the second. Usually, the flash of interest - is
a turning point of the first act, or the beginning of a turn in the second act
of a three-act structure of conflict.
Encourages the incident can not occur before the beginning of the film. It must
be born here and now, the interest flashes before our eyes, because it ensures m
aximum connectivity viewer to conflict. The heroes of the film can be a rich bac
kstory relations. Prior to the film's initial event should occur. But they can n
ot replace the flurry of interest.
Outbreak of interest or energizing effect can not come into history from the sid
elines. It can not not know who just open the door and say, "Save yourselves!"
Encourage accident born out of apparent given circumstances. We must show them t
hat the audience believed us. Encourage the incident asked who will run through
the whole movie to the obligatory scene. It makes the characters solve their pro
blems. We have to believe in them. And we need to empathize with the heroes. Key
words for them are now "risks and dangers". We sympathize with them, we in thei
r shoes, and we are wondering how they will cope with all this.
That's why we call it spurs incident flash of interest. And yet, to be brought u
nder control: is it so interesting? If not, come up with something better. The f
ate of the film is decided here.
Than the surface film, the faster there impelling incident. It's natural - flipp
ed elementary relations. Faced bandit and a policeman, devil and angel - everyth
ing is immediately clear. Reverses the basic attitude: were friends became enemi
es. All interest is focused on. any breach preovercome through the barriers which will move a hero and as a theme kontrtemu wi
n.
Private American film "Against the Time". Johnny Depp -molodoy actor, the star p
lays a modest tax inspector. Inspector rides with my daughter home. Suddenly, my
daughter is kidnapped by criminals. They threatened to kill the girl if Johnny
does not kill it. whom he told.
It's all clear at the level of characterization. The father naturally loves his
child, so he is in the hands of bandits will do. that ordered. And if he will de
al with them? Our interest broke out and begins to grow.
But the complexity of the whole structure can be assembled in the movie like a b
unch of simple and clear stories. Then each story offers its hero a gap, their b
arriers, and combines them previously set energizing event.

For example, there is a classic western "At noon." He's still in our youth was a
classic, and remained so. The sheriff has to leave town tomorrow. Today, he is
married. But back to the town band, his old enemy, and he declares that he would
kill the sheriff.
All told the sheriff: "Get out immediately!" His term of service ends tomorrow.
But it remains, since I am sure that the citizens will support him in the fight
with the bandits. As it turns really? We wait with bated breath.
Encourage event we determine fairly accurately. The life of the hero suddenly fl
ips. The balance equilibrium is broken. Hero embroiled in a dramatic situation f
rom which there is practically no way out.
What money? That's impossible!It seems that the poor man die of the cold. Or com
e up with something.
Mack Murphy learns that in a mental hospital, he has to stay forever. What did h
e come up with?
Accountant who has kidnapped the daughter can return it, if he killed the govern
or. How does he behave?
Shadow of Hamlet's father says: '' I was killed. Assassin's your uncle. Avenge m
e. "What to do in response to this Hamlet?
Successful surgeon ("Escape." Harrison Ford) is accused of murdering his wife an
d sentenced to death. On the way to jail he runs. Will he expose the real killer
s?
These are all questions we asked in the beginning of the film. But not in the be
ginning, but after 10-20 minutes, sometimes half an hour. During this time, we m
et with the characters enough to believe them and to understand the motives of t
heir actions. Outbreak of interest sharpens our perception and creates suspense.
The character must react actions. How Akaky sew myself a new overcoat? As sherif
f kill bandit? As a father save his daughter? But the rejection of the action it is also action, and it gives rise to our energy.
LOPAKHIN sets Ranevskaya's plan of salvation, which is in fact a plan to kill th
e cherry orchard and Ranevskaya said: "No! No!And there is! "She apparently has
not yet realized that she faced death in poverty. What happens now?
The Japanese, by the way, that's why are the fans of Chekhov. Refraining from ac
tion in samurai movies - the source of a powerful charge
energy. Samurai say, "Do it." He silently turned away. We tightened. He spit in
a cup of rice. He does not respond. His throw in the mud puddle and dance on it.
He does not respond. His throw to the barn, it urinate. He does not notice this
and, as we shiver with anticipation:
"Do the same for something! Answer it! "Then" they "say," Maybe he's not a samur
ai? "Samurai and jumps - Biff! Biff! Biff! - Cuts of villains long sword into la
rge pieces. One moment - and five severed heads popping eyes in a muddy puddle.
If the target is set, the delay only straining our interest.
Encourage incident hero sets a goal that it must achieve, it stresses the need f
or some action.
The hero wants to achieve something. At each moment of history, he knows which p
art of the problem leads him to the goal. This can vary. But always a conscious
plan. The goal for the hero can not be lost, even temporarily.
Of course, this does not exclude the unconscious desires. About them aware audie
nce. They appear in different moments of the action, or open some secrets. Aspir
ation can be on different levels of life. But the dominant level of consciousnes
s required.
In "Cuckoo" Mack Murphy came in a psychiatric hospital with a precise setting: n
ot to get into any conflicts. So he lives up until the sister did not look sick
supermatch banned by baseball. Mack Murphy reacted impulsively. But inducing inc
ident happened - the conflict arose, our interest is flushed. All that now make
Mack Murphy. It is the result of his deliberate decisions. He's not one of those
who let spit in your tea.
In a good film you can count not one, and 4. 5. 6 points when our interest break
s out with new and renewed vigor.
Which of these outbreaks have impelling the incident?
First, that makes glad the decisive battle opponents in the climax. From the flu

rry of interest throughout the film stretches the thread to the compulsory stage
.
In '' Romeo and Juliet ', we easily counted three outbreaks of interest. First,
I think that in the garden of Romeo and Juliet heard recognition climbed to her
balcony.
In the television series usually use the terminology of old American movies. The
y say: "The hero hung on the rock." That is below the abyss.
- Oh, that would be! What will happen!
It is in such a position of Romeo and Juliet. They are in love, and family again
st them.
- Oh, that would be! What will happen!
Young - complete paradise. But soon the brother of Juliet Tybalt kills Mercutio,
Romeo's friend. And Romeo kills Tybalt in response. Romeo banished from the cit
y. If he comes back, he would be killed.
- Oh. What will happen! What will happen!
Juliet hung on a rock. Perhaps Juliet flee to a secret husband. Romeo. But her f
ather announces the immediate wedding with her fiance Earl has long designated P
ars. Here it is really hung.
- Oh, that would be! What will happen!
If the making of '' Romeo and Juliet "television series (and this drama - the st
andard drama miniseries), such a structure of interest with the flash at the end
of each series is ideal.
In addition, it operates in a single dramatic action. We are interested in the c
ontinuous development of the power of drama. Therefore, we define the incident a
s encouraging first event proexciting our interest towards the development of the main conflict.
And then the whole development of dramatic action is defined as the progression
of the complication of the drama.
The progression of complications - the second stage of a five-step strategy for
drama. It is a process of energy and increasing our interest in the events of th
e drama.
PROGRESSION Complication
The progression of complications may also be called stage of development of comp
lications.
It refers to both. we are building a history of increasing. Scene after scene as
the stairs, the story rises to the most tense moments - climax.
Each subsequent barrier higher than the previous. Each subsequent breach threate
ns more than the previous. Each subsequent step of the hero in the conflict will
require more.
The risk grows from scene to scene.
The danger is growing. Decisions are made more difficult. In this case, the ener
gy story grows. The story draws us gradually, like a boa constrictor rabbit.
How it looks in a simple complication of the story?
Peter and Kate have lived happily ever after. Every evening Petya waited delicio
us
dinner and open bed. But once dinner was not cooked. The bed was not a bed. Kati
e was not at home. Peter fell asleep one.
Kate came in the morning. Peter wanted to hug her. But she was asleep, or preten
ded to. The next evening, the dinner was not there. Bed Pete Katya lay on the co
uch in the dining room.
Peter got drunk and the next evening came late. There he saw a huge hanger shoes
. From the bedroom you could hear laughter and Katin bass laughter stranger. Pet
er began to break into the bedroom, but the door was locked.
The next night, when he got home, he saw Peter outside bags with their belonging
s. The door has been inserted a new castle.
As you can see, the gap between Katya and Petya grow. We are drawn into the stor
y. What will happen with Peter?
That is the progression of complications is increasing in the western "At noon."
Sheriff's going to kill the bandits. He decided to give them a fight. The sherif
f is a judge. But the judge runs out of the city. He is afraid of the bandits. T

he law will not protect the sheriff.

Sheriff goes to eminent citizens. They just all gathered in the church. But emin
ent citizens fear for their possessions. They do not want to help the sheriff.
Sheriff believes that ordinary people will help him. He goes to the ordinary peo
ple. They all gathered in the pub. But ordinary people do not want to get involv
ed in a fight with the bandits sheriff. That's his business. They are in no way
threatened by the bandits.
Sheriff inconsolable, he remains alone with a young, loving wife. But his wife i
s unhappy. that the sheriff took her. She leaves town. Now he's all alone.
Gaps around the sheriff as if dug full circle. He is in a desperate situation an
d must pass the point of no return. And he goes ... He writes her will and charg
es for guns struggle. We are waiting with bated breath as it comes out of this s
ituation. History completely got us. Her energy is maximized. The increasing com
plexity of the character is subjected to ever new challenges. And we have to tur
n out his way to the audience inside.
But there is a very simple explanation for why the progression of complications
running from scene to scene. Audiences want new emotions. When the emotions of o
ne scene in her third act peaked, interest in it generally exhausted and need to
move on to the next one. It is desirable that it was a great emotional potentia
l, and emotional development is steeper than the previous. So grows the energy o
f the film.
The progression of complications perfectly develops the energy of the film, when
each complication comes some important new bit of information that complements
our understanding of the overall picture.
The film "Against the Time". Johnny Depp was in the hands of a gun. Gunner lead
him to the victim, he must kill. And suddenly, he learns that he must kill the w
oman - Governor of the State, who is running for a new term. This is a great dis
covery for us. We tightened stronger.
Johnny tries to escape, but the enemies are everywhere. It provokes a security s
ervice that it has selected his gun. But the guards are conspiring with the murd
erers. Circle of complications increased. Johnny at the center of the plot. This
is better than we thought. The energy increases.
Johnny opens his secret assistant governor, a pretty black girl. It leads to the
headquarters Johnny, but she was killed. Circle INSTALLS
complications further expanded. Enemies in the center, at the headquarters of th
e election campaign.
Johnny rushes to her husband for support of the governor, the head of its electi
on campaign. But it turns out that her husband was in the heart of the plot. A d
aughter of Johnny threatens death. What will happen?Practically only the climax
we learn bit by bit the whole balance of power, that is exposure. But every litt
le bit expands our understanding of history. And the energy of perception has be
en growing steadily,
THREE WAYS OF Complication
There are three possibilities for increasing complications.
1. Deepening the dramatic situation in which the hero falls. The barriers are ge
tting higher. The character under increasing pressure.
At first, Peter lost his job.
Then he left without Katie.
Then he burned the house.
He would be killed if he did not do "it". But to make "it" for the Petit worse t
han dying. So he decides to give battle.
How will it be? We have already seen how Peter coped with small gaps both overco
me barriers higher. We believe in Pete and want him victory, when it rose to the
highest barrier.
Michael Corleone did not want to engage in criminal business family. My father d
id not want that. Michael has to stay pure as an angel.
But the enemy was nearly killed his father. And now, in an empty hospital, they
would kill him if Michael alone, without weapons will not protect my father. And
Michael does that, it overcomes the first barrier with the risk of life-threate
ning.

Godfather saved, but the war erupted. The only way to protect his father and fam
ily - to kill the murderer. This barrier abruptly. But Michael Corleone kills en
emies, going through the biggest barrier to greater risk and greater danger.
Michael is not an angel, he had "lost soul" killer. But the new gap over all pre
vious threatens his family. He must overcome the new barrier, higher than all pr
evious ones. On the eve of the expected or possible murder of his family Michael
arranges insidious and ruthless extermination of enemies at once.
Enemies destroyed. Michael has become the new godfather and a new devil.
The story is told with the maximum energy. The path of progression of complicati
ons drew us a convincing trajectory transformation angel into a devil.
My favorite hero of all the producers of "small budget" is the antagonist madman
. ready for anything. He has a great progression of complications. First he take
s a room in your house. Then he pays for it. Then he throws it cockroaches. Then
bares all the wires to shock you killed. Then it turns out that he wants to evi
ct you from your home. And you know that before you it has successfully done thi
s in other houses. You decide to drive rogue force. But it turns out that all th
e floors below you rasped. You fall through to the basement and there to burn al
ive ... Something like I've seen several times in different ways.
Such a heavy flywheel spins stories of emotions. From complication to complicati
on. But the more serious films hyping the same flywheel.
Heroes always start with small actions. At first they only approach the boa. The
n tuck in a boa head. Then they are already there in its entirety. And then it t
urns out that the hero is not a rabbit inside a boa constrictor, and Jonah in th
e belly of the whale or dragon. And the hero cuts the way out and triumphed over
the defeated dragon. The path is increasing complications by continuously fight
ing the growing theme with growing countertheme and development of dramatic twis
ts and turns.
2. The second way of increasing complications - a way of extending the conflict.
Around the actions of the main characters grow social circles
cial environment, they are involved in the conflict. In this case we do without
madman antagonist. But the problem is that we take must have some kind of univer
sal significance.
An example of this - the movie "Kramer vs. Kramer. ''
First, there are only Meryl Streep, Dustin Hoffman and baby, their son, whom the
y can not share.
Then in the conflict is drawn school.
Then the problems associated with child exciting work Kramer.
Then come the lawyers in the case.
And by the end of several dozens of people involved in the conflict. And the con
flict itself from the private affairs of the two parents grows to archetypal pro
blems: "Can a father to raise a child as well as a mother."
"Kramer vs. Kramer" - a beautiful story. But the "Romeo and Juliet" is still bet
ter. You already know that it has all that it contains drama. Including, of cour
se, and progression of complications.
At the beginning of the conflict are involved only in Romeo and Juliet.
Then he switched on the lovers of the nurse and the father of Lorenzo, on the si
de of the enemy - Tybalt and Mercutio.
Then, to this are added the mayor, banishing Romeo, Juliet's father and mother,
and with them the Count Paris.
With each new figure in the history of the added complications. Brescia grow, ri
sing barriers. So far, they simply can not overcome. And then Juliet decides to
take the risk of life-saving drug to fall asleep and not wake up.
The story began as a special case, is transformed into the archetypal universal
parable about the conflict of love and society.
Of course, best of all, when in the progression of complications of the conflict
and expands and deepens at the same time. It is very clear this development pre
sented in the "epidemic" in the fight theme and countertheme.
First, there were the first cases of a ruthless disease - countertheme destructi
on. Scientists are trying to deal with them - the theme of salvation.
Then more and more cases. It is clear that the city covered an epidemic - counte

rtheme. Scientists are helpless. But the army gives them a secret drug that does
not help - the topic.
The problem is compounded. The virus has mutated, it can spread through the air.
The epidemic threatens all across America and around the globe - countertheme.
Scientists are looking peddler
virus - a topic and want the military to destroy the virus in the city with a si
ngle bomb. As they have done some time in Africa - countertheme.
Scientists under the stress of time and under the threat of death found a monkey
. into carriers of epidemic - topic.
The US president, deceived by the military, gave the order to destroy the city.
The plane took off with the bomb and sent to the target - countertheme.
Colonel convince pilots not to throw the bomb - a theme.
Scientists find a vaccine. The epidemic is defeated - the theme of salvation won
kontrtemu destruction.
You can see how the process of fighting the topic and countertheme steadily grow
ing gap, rising higher and higher barriers, conflict zone expands and deepens. I
n short, we are talking about this: rates are rising. First rate - 5 lives of pa
tients, then - a hundred terminally ill, then - a city in the epidemic, then - t
he whole of America is doomed, and her whole world.
First rate - professional risk against bad faith, then - risk life to save many
lives; then - almost hopeless risk, courage, courage for the sake of humanity.
STRENGTH IN DOUBT
When the audience understand the story can go one of two ways, when the hero doe
s not know which way to go, and one of the ways it is death; when the scale of t
he drama fluctuate between hope and
despair, then the story is saturated with energy insecurity. This is a great for
ce pushing the plot forward.
At that moment when the hero has to decide any alternative shake his resolve. It
has two paths, and it can go on any of them.
You remember, of course, the scene in "The Cherry Orchard" when Ranevskaya bring
s together Lopakhin and Varya. They were alone. Separately agreed with each of t
he wedding. Varia wants to marry Lopakhin. And it is clear that it will be faith
ful and caring wife, she will give birth to children and bring up good. And LOPA
KHIN need peace in the family. And he likes Varya. And he was kind of agreed. He
used to dream could not enter into such a family. But dig a little deeper: he m
arried into a family that destitute, which knocked out the most expensive - cher
ry orchard? And somehow it is difficult to break
the usual race for cash, fill out all of his life. On the other hand, it is nece
ssary to stay, settle down ...
The scene stands out in any setting tension. Actors love to play it. It hides th
e energy uncertainty, decision-making power at equivalent alternatives.
Remember the movie "Thelma and Louise"? Police cars lined up behind her heroines
. Before them is a bottomless pit. What do they choose? For many years in prison
or instant release of death?
Or the film "Good Guys" by Martin Scorsese. The hero alternative: obscurity in p
overty or respect in the underworld. This early. At the end of the alternative:
to perish, be life imprisonment or betray?
Energy insecurity has two sources:
1. Lack of confidence in the actions of the character. You must choose one of tw
o options.
2. Uncertainty audience when he does not know which way to go changeable action.
Excitement grips us when the hero is in danger and it is waiting for salvation
or death. Both are equally possible.
As in the film, both these paths are connected, the character gains additional d
epth, and the action of additional energy.
This is the basis suspense.
We can clearly say that the more we empathize with the character, the more energ
y insecurity creates variability in his situation.
From the first steps of the movie it spawned uncertainty force energy in actionpacked scenes. Think of "Intolerance" Griffiths. Innocent prisoners waiting for

execution, and the governor is rushing messenger with orders for clemency. Have
time - do not have time? The first audience of the original idea on the chairs c
ould not sit still with excitement.
What do you think about the thousands of fights at the edge of a cliff or on the
roof of a speeding train?
Crazy Jack Nicholson with an ax cuts through the door to his wife or being chase
d through the maze of his son in "Shayninge." Would get - will not reach? Catch
up - do not catch up? Unequal forces, but the balance of equilibrium varies in o
ne direction and then the other.
Every good suspense highlights that energy insecurity. It kills any maniac who s
ees in the dark, blinded by darkness Jodie Foster ("The Silence of the Lambs")?
Will Colonel (Dustin Hoffman) to persuade the two young drivers not to drop dead
ly bombs on a peaceful city ("Epidemic")?
The boy runs away from the merciless criminals who ordered to kill him ("Custome
r")?
And, of course, will win if Harrison Ford ("Land of the Lost Ark") his enemies i
n battles on a moving conveyor, or wildly mchascheysya trolley or bridge collapsing. In short, on the whole. that moves, hesit
ates, turns and shakes. Wonderful moments where breathtaking and childhood back.
Cool the solution, developing energy insecurity among the audience, offered in t
he final of '' Romeo and Juliet, "director Baz Luhrmann. Romeo weeps at the life
less body of Juliet, is about to swallow a drop of deadly poison. But Romeo has
not yet taken the poison, but Juliet is already alive. Flinch her finger next to
the topics that Romeo had just put on a farewell ring. Romeo engulfed with grie
f and did not notice that Juliet trembled eyelashes, opened her eyes. She vaguel
y sees Romeo, still does not understand - this is reality or a dream. And he alr
eady brings to the mouth of a vial of poison ... We are every moment oscillate b
etween despair and hope.
Uncertainty creates the most stress when doubts are developing rapidly. A victor
y brightens slowly. The most intense excitement embraces the audience, when the
hero is about to get "it". Each obstacle on the way to "this" causes an outbreak
of audience tension. Every doubt. that he "is" get, annoying us. The viewer wan
ts clarity, something one and definite. As Chekhov said, - "at the end, the hero
, or marry or shoot."
The victory of the hero - is the highest point of the drama. But it destroys all
the stress, so must be at the end of the story. Before her biggest insecurity s
training our obligatory scene.
MANDATORY STAGE
Gaps in the progressive complication becoming wider barriers are becoming steepe
r, to convince us that the hero is able to overcome them. But it will all be idl
e if at the end of progressive complications protagonist and antagonist are not
grabbed in the decisive battle. And the hero proves to us. it is our worries and
our hopes.
This scene must necessarily happen here, now, before our very eyes. Therefore, i
t is called a compulsory stage. For her everything is going. It can not be done
and to play somewhere under the table legs. We want to see it, to experience the
full measure of excitement for the heroes who have given our hearts.
Mandatory scene grows at the end of the progression of complications as the deci
sive battle of the hero and antagonist, as the most emotional sobyment of the film. It expresses the fundamental idea of ??the film. It faced the
theme and countertheme in its maximum development. It follows immediately after
the crisis. Heaven and hell victories defeats in mandatory stage very close toge
ther. The winner - and you're in paradise lost - you are in hell.
At the climax of "Cuckoo" the nurse came to work quickly and efficiently restore
order in a mental hospital, where Mack Murphy gave a kind of brothel. She disco
vers Billy in bed with a whore confused:
whore expel Billy cause order.
But Billy recovered! He did not stutter! He was freed from his fears! He has nep
odvlasten nurse. That nurse would not allow. It is hard and skillfully pushes Bi
lly back to his illness, his mania and complexes. In desperation, Billy cuts his

throat.
And then Mack Murphy furious rushes to the nurse to kill her. To rid the world o
f this devil! This is obligatory scene. Throughout the film we have steadily inc
reased the desire to see this scene. Every victory over the nurse Mack Murphy ma
de us more and more willing to Mack Murphy grabbed it and won. Nurse seems stron
ger. But the hero must at the end of the film to meet face to face with his drag
on - win or die. For this fight, he is going to the end of the progressive compl
ication of the "point of no return."
In contrast to the obligatory scene of hope and despair, the positive and negati
ve energy of the film reaches its maximum. This is the peak rereadings from an e
motions of the film.
The "epidemic" real antagonist outlined immediately. In the beginning, we all th
ink that heroes are fighting only with the virus-killer. But Therefore
gradually seen the enemy - General (Donald Sutherland). He wants to possess dead
ly biological weapons and is ready to kill for the sake of the whole city. He is
trying to destroy Colonel (Dustin Hoffman) to paralyze the work on the vaccine.
There comes a decisive battle. Gen. two heavy military helicopters against Colo
nel on one small maneuverable helicopter. This is obligatory scene where the her
o takes a maximum of courage and will. Masterpiece of its execution can not be c
alled. But in fiction, and most importantly, in literacy she could not refuse. T
he energy piggy film she is making a contribution.
Mandatory scene gives an answer to the main question Drama
film. This issue is clearly there in a flash of interest. What, in fact. we are
interested in? How does it turn? The end? The path from the flurry of interest i
n the obligatory stage - this is the way of the main dramatic question. Everythi
ng should be concentrated around it.
Difficulty mandatory scene is. that it turned out to be unpredictable and at the
same time consistent with the expectations of the audience. One of the best cas
e scenario masters William Goldwyn said:
"The audience should get. what he wants, but not the way he expects it. "
If the obligatory scene is predictable and everything happens like this, as you
expected, then you experience a vague feeling that you are fed food that you hav
e eaten and digested once. You have to write the name of such food?
To this did not happen. professional
workflow insures you. From the outset, above all else, you have to come up with
mandatory stage. And then, having it in my head, to build the development of com
plications, so that only you know what it will turn back, and no one else could
have known. This is not as difficult as the main idea.
Interaction flurry of interest, development of complications and the obligatory
scene - a seed from which grows the story.
There are, however, stories in which the hero's repertoire of behavior is strict
ly limited. For example, the Rocky movies. This guy just knows that the fight in
the ring. When it comes to the obligatory scene, everyone understands that oppo
nents will not all of a sudden chorus or dancing tango. They are hitting each ot
her. But how?
So that you breath away to leg paralyzed with excitement. Mandatory accident sce
ne is not located at the peak of the energy of the film. Here we are as close as
possible to the hero. This place is the greatest emotional involvement of viewe
rs into the world of your movie. Not bad to get spectators are jittery. Let card
iogram Dramatic twists and turns jumping up and down, up and down:
- All is lost - he lost! ..
- No!He won. He is a horse! ..
- Oh! He died once and not come out! ..
- No! He still wins! ..
- What is the insidious enemy! He will destroy my hero! ..
- No! No! Give him! More!That bastard deserved! Trample it! Razmazhu!
We won! Hurray !!!
Best of all, when an unexpected twist in the actions and emotional development h
elps maximize mandatory stage together.
Lots of emotional stress in the compulsory stage arises from:

1. The maximum suspense;

2. The highest barrier to the hero;
3. clearly defined "point of no return" before the deepest breach;
4. The maximum dramatic twists and turns.
Check your obligatory scene at these points. As a rule, there is always the poss
ibility to modify it a little bit.
In the film "Escape" escaped from prison surgeon (Harrison Ford) has to find the
murderer of his wife. The progression of complications grow up both sides. FBI
chase weaves a network, from scene to scene, they are getting closer. And now, b
reathe in the back. Simultaneously, the picture grows conspiracy killers. The he
ro discovers that prevented the billion dollar deception that threatens our heal
th harmful drugs. Chase caught a hero in the building, where the world of scient
ists at the conference is to legitimize the fraud. But the hero exposes the cons
piracy, though he has no chance to escape. It is obligatory scene. We check how
our checklists.
1. Suspense. We already support hero. He is ready to sacrifice themselves to def
end their honor and to save our health. We loved this noble person and wish him
victory.
2. Barrier. He seems insurmountable. It seems that the hero must sacrifice his l
ife for the salvation of mankind.
3. The point of no return. It is indicated very clearly. Up to this point the he
ro secretly sought the truth, to rescue and ran away. Now he makes a discovery s
tep right into the abyss breach. The gap - is the entire scientific community, d
eceived cynical businessmen, and the police, deceived killers.
4. The hero did what he wanted. He said publicly about cheating. But the emotion
al potential of the scene has not been exhausted. Good guy has to defeat the bad
guys in a straight fight. The audience wants from him pulled out a maximum of e
motions. And the scene ends with the traditional cliched fight two enemies surge
ons. You see a similar scene in every film that is going to emotionally gut view
er. And movies are making it.
The bad guy takes a maximum of meanness, cruelty, deceit and forcing the hero to
show maximum courage, risk, courage and dexterity. All this is revealed in a se
ries of conflicts that have been brought up to a maximum of dramatic ups and dow
ns. In my opinion, these are moments when
heroes, whom I worry peel insidious and powerful enemy, fine. A child who seems
to have fallen asleep for a long time in me, at this moment wakes up and yells:
"Let him! Yet !! "
And if we recall Pushkin - "Poetry should be. God forgive me, a little silly "and cleverest Bernard Shaw -" Words confuse? Listen to music "- you can see why
we have the right to look at the benevolent contempt ironic tadpoles with a skin
ny little body
underdeveloped emotions. They assure us that they are boring narrative some mean
ingful mystery.
They lie. Encrypt empty lifeless caves. Poets drama - those who make exciting ac
tion, thriller and series of soap operas. It seems trash, but that this future w
ill bring simultaneous picture of the memory of our time. And neurotics, exuding
boredom, do not have a chance. What is deprived of energy today, deprived of he
r forever.
CRISIS. Between the devil and the angel
When subjected to the increasing complexity of the character quite serious tests
, we get an idea of ??the possibilities of the character previously hidden under
the guise of characterization. Now comes a time of crisis. This is the place wh
ere the character undergoes the biggest test. At this point the character has to
do the most difficult thing for yourself. And it reveals the true depth of char
acter. We can understand more deeply the nature of seeing him in a crisis before
the decisive goal.
The crisis - a time of static. The character decides he chooses. And we strain:
what will he choose? Which way? That is why the crisis is concentrated energy in
security.
The rules say: look for the hero of the terrible situation. Before him asunder m

ust hell. And he decides to throw at him, saving love

directly, or defending the honor of being rescued from death. Hell fire kindle a
ntagonists. As he climbs out of all this?
As the French writer Jules Renard: "The brain does not know the shame." In the d
rama we have to go through. "Recent extreme acts and facts" - this is our materi
al. The art is to express these extreme intuition and tact of the artist. Chekho
v does not show how Ranevskaya in poverty and humiliation commits suicide or cru
shed life, washes Parisian toilets, as it did in real life Russian noblewoman th
rown revolution from home. But we're guessing the prospect of its demise after t
he sale of the cherry orchard. In short, we need to understand that there is a h
eaven and hell hero.
But why are we going to monitor the voltage selection of the hero? Where is the
energy of uncertainty? She loved the choice of alternatives. To the choice of th
e hero worried spectators, we should give him the opportunity to choose between
two equivalent, comparable images of happiness or two comparable images of despa
ir and suffering.
The choice between good and evil, happiness and misery is clear once and will no
t produce energy insecurity. But if a person chooses between wealth in a uniform
business and hungry but happy life of the artist - two different happiness. Or
decides to risk his life and escape from prison instead. to suffer in prison hel
l. Such a choice - the energy source of uncertainty for the audience.
One problem typically provides a plot. We are looking for another character in t
he past, in his biography. These two problems we are facing in the conflict.
Japanese Samurai Code says: "If there is a choice, choose the path that leads to
death." But we are not the samurai. We need to clearly motivate all actions. An
d then the drama "here and now" is associated with the last hero of his biograph
y. Convincing motivation go from there.
All the great dramatists understood that the crisis of the hero is in the heart
of the poetics of drama. No wonder the most famous dramatic monologue of Hamlet:
"To be or not to be?" This is not just a philosophical question. It summarizes
the experience of everyone who wants to achieve something in life, without becom
ing a scoundrel.
The crisis is most clearly sets character choice of actions between the specific
need and potential. This is the problem of man, from Aristotle to the present d
ay.
The crisis can develop in many places of history, before every decision. But the
most important crisis comes before the culmination of all history in the final
part of progressive complications. It is preceded by a mandatory stage and clima
x. This is the place where the hero must take a very important decision and to c
ross the point of no WHO gates. There comes a stop action and energy of stories going like water before t
he dam.
Development of the action as if frozen in the soul of the hero on the scale rang
es equal alternatives. And our energy increases.
But the decision is made.The flow of stored energy poured from the screen in the
hall. Hero converged in a deadly battle with the dragon. The crisis is not only
important as a semantic, but also as a rhythmic element. It delays the action b
efore the explosion of emotion.
Animals do not have the crises, they have a hunger and fear. The more people on
the animal, the more natural for him to experience a crisis and make real moral
choice.
The crisis probably refers to a society more civilized than ours. For us this is
something bizarre. Previously we did not have so many options of behavior. It w
ould not have been before the crisis. Now it features like more, however it is n
ecessary to turn to profit: those who crises will suck his paw.
But the audience really wants to see characters with all the fullness of the sen
ses. To do this, they go to the movies.
CRISIS MUST SEE
Decision-making in a crisis may remain a mystery of personal character, if you c
an not find solutions for the visualization of the crisis.

In the drama, you can not just show an insecure man "neither fish nor fowl."
Emotional energy
make visible the character's actions in crisis.
- "Fish"! - Decides and makes the characters, or at least starting to do the "fi
sh".
- No, the "meat"! - Begins to make "meat" throwing "fish" halfway.
- No, still "fish" ... And how "meat"? Perhaps the "meat" will more accurately.
Now we are emotionally excited, angry and inwardly muttering: "Well. Because rho
dium is already something!" Fish "or" meat. "In the end,
The woman has not been able to get the child. For her forties, she finally becam
e pregnant. And doctors have determined - she would have Mongoloid. She had to c
hoose: to give birth to crippled or no ... This alternative seems strange: of co
urse, we must get rid of. However, there are women who prefer to give birth. And
taking care of this child becomes the meaning of the rest of their lives. One c
an imagine the crisis in which the decision of this kind?
Here is another story. The woman gave birth and dearly loves her child. When the
child was 4 years old, she found that in the maternity hospital confused childr
en. She found her own child. And the mother of this child wants to get back his
home. How to be here?What child home, which still dearer? Clearly, the decision
will be taken in a deep protracted crisis drama.
But these crises visually. In all of them it produces visible acts.
BORDER human experience
Anything is in crisis is not easy to visualize. But we know the time of the cris
is of the hero, as ever, a lot, and we can speculate a lot. And we very quickly
understand what would follow. This is a wonderful moment of our deepest penetrat
ion into the depths of the soul of the hero. The viewer wants to get closer to t
he edge of human experience. It is, as a rule, in principle, know from my own ex
perience everything that you want it to show. He never acted like a hero, do not
take extreme actions. And it is very interesting to see how this happens.
As a woman takes her husband forever and nowhere?
How can a man with one blow cut through all the difficulties of his life, puttin
g pride above the practical use?
As a person renounces all that hard work put together to bring a more important
goal than peace and prosperity?
How love makes people crazy decisions from the point of view of common sense?
And many other extreme actions intrigues us, straining our energy. All of this c
omes in a crisis and can be seen or guessed us. This fabulous moments.
Hamlet with doubts "to be or not to be" or the skull of poor Yorick's hands.
Juliet with a bottle of unknown drugs, which should be a day to turn it into a k
ind of corpse.
And another Juliet - Mazin, robbed, deceived, and almost killed, lost for some t
ime to live.
Remember this place - great crisis in the "Nights of Cabiria." Kabir died alive,
wandering the gloomy forest. He sees a group of gay teens, and the will to live
returned to her. The great crisis and great culmination immediately afterwards.
And of course, the brilliant spektakulyarny crisis hero of the film "8 1/2."
The director is necessary to make a film. Money invested producers require immed
iate operation - producers dragged the director to shoot. Press bombarded with q
uestions for which there is no answer ... (We have such crises once a year!) And
the director in response climbs under the table and commits suicide. And once i
t is desolate. Decorations are falling apart, people wander meaningless. Everyth
ing dies, if not already dead. Suddenly ... the hero is a saving way out of the
crisis. And fireworks blooming of his talent.
Here it should be noted that the entire life of the hero in a good film - it is
a crisis. And the whole life of Hamlet - the crisis. And Othello in a crisis alm
ost from the beginning of the play, when he saw a handkerchief of Desdemona. Is
a general crisis, in fact, another name for the dramatic situation, at least for
a significant part of these situations.
The idea of ??continuous actions and counteractions collision, expressed Stanisl
avsky generates ongoing development crises. Whenever countertheme attacks topic

possible crisis. For the director is a productive idea. It can make extra energy
in many of the events of the drama. It improves the quality of the action.
Crises are in a very simple character, not only in Hamlet, or intellectuals. In
one of my first films "Call, open the door," ten-year-girl in love with a high s
chool student, fell into crisis - saw a happy rival. The boy, of course, has a g
irlfriend, he rides with her at the rink, if hovers in the sky among the clouds.
A girl in tears in love hobbles skating on icy asphalt. podranennaya like bird.
With some difficulty climbing the stone steps, exhausted sits down on the stair
s. And suddenly out of the apartment to her joyful mother throws. She returned f
rom the trip. The girl is not alone. The crisis then played the role of emotiona
l delay, he works for the accumulation of emotions before the outbreak in the cl
imax.
But another girl. She was 12 years old, and her situation abruptly. She decides
to take revenge on the murderer of his family. It Mathilde in "Leon". Hide the g
un in the bag with vegetables, she goes to the police department. But it can not
kill. Therefore, it threatens the very death ...
Overcoming the crisis of the crisis, it is the climax of Gary Cooper - the hero
westerns "in the afternoon." What's cool in the crystal-clear film - is that all
crises are put on active operations, internal or external. With the hero all th
e time there is something that causes him to make a choice, "either - or": give
up or move on, saying his understanding of honor. By this we aim - to find a vis
ual image for the crisis and using the crisis to improve the quality of action.
The hero of "8 1/2" everything in life is made up of crises. He is not well. His
body was hard to obey him. He treated. His body crisis.
But he and the crisis of the spirit. The Pope could not ease his problems.
He had a crisis in relations with his mistress. He is ashamed of her and can not
overcome the sexual attraction to her vulgar body.
He and his wife crisis. He is guilty in front of her and could not find the way
to reconciliation.
He had a crisis at work. The actors do not get from him roles employees - tasks,
producer - dates filming ...
He dreams of a crisis, and love. He seems to have lost the ability to love.
Why these crises so convincing? Because we resolved through conflicts, visual, a
ttractions, manifested in bright plastic images. A major crisis, which eventuall
y confronts the hero, pushing it to the "point of no return." It is here that th
e border of the human experience that attracts us. Here faced cowardice and cour
age, truth and falsehood, selfishness and self-denial in love. In short, do not
miss this moment in the development of the drama. It is not always possible. But
if there is a place for it, you get an extra boost of energy.
Let's proceed to the next stage of the structure, "the culmination of the" recal
l another brilliantly executed crisis. It is, like everything else in this story
, a masterpiece of the director's performance. This is a crisis in the "cuckoo."
It occurs as the result of a carefully constructed progressive complexity in co
nflict Mack Murphy and nurses. From small to huge. In the beginning - a small st
ep:
1. Mack Murphy wanted to watch TV. My sister would not let him.
2. In response to Mack Murphy took the sick fish in the boat the head physician.
For this nurse insisted. to leave a troublemaker in a mental hospital for an in
definite period. She is his remake!
3. Mack Murphy exploded. He broke the glass, resisted orderlies, doctors subject
ed him to severe electrical shock. But he dealt with it.
4. Mack Murphy decided to escape from psihuschki that, in general, is not hard.
But before that he had made a great spree in the nuthouse for patients, which is
already attached. This unprecedented violation of the procedure, the peak of th
e theme: thirst for freedom.
And then comes the moment of crisis. Party pulls out from the depths of the natu
re of the nerve boy Billy undercurrent of his desire: he likes a girl Mack Murph
y. And he did not know women. Mack Murphy sees it. What will he do: save herself
or delayed to help Billy?
All the elements of this crisis found visual solutions. More holiday unfolds. Th

is is a rush of joy to the patients. Clearly shows that Billy shyly in love with
girlfriend Mack Murphy. And we guess that Billy can recover we had previously l
earned in detail the story of Billy disease.
Mack Murphy understands that he must escape before dawn, but, on the other hand,
it does not do for Billie Holiday. He leaves with his girlfriend, Billie. Waiti
ng for the end of their visits and falls asleep.
Morning came. The walls of the prison shut. Mack Murphy trapped.
The main crisis may be preceded by the obligatory scene. But just as it can be b
efore the climax.
Climax
The climax occurs when the action is close to the emotional peak, in the final p
art of the film. It is an explosion of emotions before the end of the film. But
if all the emotions eviscerated in the compulsory stage, it's just a quiet place
where the answer is given to the main drama vopros.Eto the place where the subj
ect unconditionally wins kontrtemu. The story came to an end.
The climax - is the realization by the threads of events. Winning topic does not
necessarily mean a happy ending. The hero may be killed, but the death of his c
laims victory theme.
Dying Romeo and Juliet. But their love and death wins. Above the heads of the fa
milies the bodies of lovers hold out the hand of friendship to each other.
Hamlet dies, but the validity of evil in the world set.
Good advice about the climax, and the finals gave me at the beginning of my work
in cinema playwright Alexander Volodin.
I asked him to write for the hero in the final monologue. I thought,
it will help the audience understand the meaning of the previously shown. He sai
d:
- Word is not difficult to write. But bear in mind that viewers do not have to s
train to understand the meaning of words. It is enough to them to feel the emoti
on that makes a hero speak.
Buzzwords in the drama only need to understand the audience: "Oh, it's a smart g
uy!" The mind of the drama - in the actions that are facing the characters.
Climax - is the emotional action. Most buzz occurs when the climax consists of a
simple and clear action - no words necessary. Everything should be as clear as
in the ballet of movement and staging.
Remember the perfect culmination in "8 1/2." It seems that the character has suf
fered a complete defeat. The scenery of the film fall, the group says goodbye to
the director. Claudia Cardinale, the game lost muse, inspiration helpless angel
, sad smiles farewell smile. And suddenly, the hero understands what the decisio
n of the film. Characters in his fractured life slowly converge. The theme music
begins softly tinkling march action. And all the characters go down the stairs
and form a circle in the center of which a small boy and three clown flutist pla
y march. For the climax found the simplest and most accurate solution. A simple
visual formula: all life forms unbreakable circle of love. This ballet, where si
mple activities are full of deep meaning.
By the time the climax of the audience is already aware of all the values ??that
are in play. They just need to find a pattern.
If this is done, the emotions of the audience explode. The climax - a triumph of
the theme. The audience wants to see at the culmination of the imagination of t
he director, his intellect, which is capable of not words, but actions
the characters develop the story to the end, to the last point, they want to rea
ch the limits of human experience.
The climax - a place where work Eisenstein the dialectical montage. Simple stati
c shots faced, and in the place of their connection breaks third meaning, full o
f importance.
Teens friendly smile of Cabiria. Cabiria smiles at them. What could be simpler?
And we understand that life is worth to fight.
Michael Corleone in the church to baptize infants. And his bandits kill suspecte
d enemies of his order. We understand he's the devil. They say. that Coppola was
looking for a very long time for this climax of a simple and strong solution: m
ake it concise, understandable without words and full of energy actions.

The climax - a task that confronts the story of the film director. The film come
s to an end - time to put an emotional point.
A highbrow literary assured that Shakespeare - a poet, a playwright who performs
the task reluctantly and carelessly, the main thing for him - the poetry and th
e ability to philosophize about life. And he has no equal. As evidence, he cites
the ending of Hamlet. There, they say, hastily and somehow piled all showdown.
Apply the most banal details: poisoned swords, cups with poisons, because all th
is Shakespeare did not need. It's done, it is necessary to put an end quickly as
possible.
The scientist said. probably a good thing, but no director. Good final - the pro
posal to the director: "Be talented!" The author of the final part of its import
ant work. It offers the right questions to the director.
You have in the plan of staging the ballet? Pantomime final action? There direct
ing management of key images of the scene? You hear the music drama? Action clea
rly and simply. But for this kit that will never let you down: the sword, poison
, poisoned drink-they draw a shortest path from life to death. And you too razuk
ras him his talent.
The climax of dramatic twists and turns make the cardiogram the sharpest jump fr
om misery to happiness, from defeat to victory threads and approval of topics, f
rom despair and hopelessness to hope, from darkness to light at the end of the t
unnel.
The culmination of all the changes the balance of power in the life and soul of
the hero. establishes a new balance. And if the hero dies, the culmination deter
mines the price of his death.
It is a fantastically beautiful climax in 'cuckoo. "Mack Murphy suffered a compl
ete defeat. He was subjected to severe electrical shock, just burned his brain.
He became a complete idiot with senseless eyes and trembling hands. On the other
floors of the hospital in a whisper convey the legend: Mack Murphy escaped. But
the truth is that he turned into a vegetable. His friend brings Native American
history until the end. He delivers Mack Murphy hopeless misery, strangling him.
And he does that. I wanted to, but could not make Mack Murphy pulls out a heavy
marble floor distributor, breaks the window of a grid and runs free.
Quiet, simple and powerful climax. In a moment we take off on dramatic vicissitu
des of hopelessness to the greatest possible happiness. Subject won - nothing ca
n resist the human desire for freedom.
DIFFERENCES IN COMMUNITY
Emotional drama give fullness differences within the community. This is a fundam
ental position, which works in all aspects. The structure for this purpose and n
eed to combine all these extremes and differences: a variety of behaviors contra
sts emotions, character differences. But in a crisis, these differences may be,
more than ever, complicated. This activates the thinnest part of our emotional e
nergy. All our nerves tremble. We're guessing the secrets of internal conflicts
hero.
In the movie "The Fisher King," the main character's girlfriend - actress Merced
es Ruel (get, by the way, for the role of "Oscar") at the end of the film the he
ro hears the confession of love. Her first reaction - uncertainty. Then happines
s, then it stick in Jeff Bridges struggled resounding slap. It's like a splash o
f all its anxieties and hopes: the crisis that she suffered for so long. Bouquet
of emotions at once. Emotions crisis will not disappear if you are able to prop
erly dispose of them.
The culmination and the end
With the culmination of the associated one important problem - it is the ending
of the film. If you have besides the main plot to a climax move
podsyuzhetov few, all of them have to untie. At the climax it works best pure, f
reed from the side stories, most importantly, a radical action. It is this actio
n allows us to be emotional and very clear. Podsyuzhety useful to unleash a clim
ax. The best sequence - is exempt from them in turn, from less important to more
important.
The coolest climax and endings can be simultaneously separated 5-6 side plots. B
ut this is a master work. It can be seen in "Casablanca" to "8 1/2".

Classroom work is usually not visible, all the seams are hidden. You see the out
fit, skintight perfect body.
In "Casablanca" final scene unleashes five subjects at once.
1. Love triangle - Laszlo and Ilsa leaves.
2. The plot of the Germans - Colonel Rick kills.
3. The plot Rica - it changes your life, it becomes a fighter of the Resistance.
4. The story of Captain Renault - he joins Rick.
5. The plot of visas - they saved the lives of Ilsa and Laszlo. This masterfully
executed with absolute naturalness, clarity and conciseness limit.
The "Escape" stories undone by one in the last 5-6 minutes.
1. First, the killer of his wife caught one-handed surgeon.
2. Hero at a conference of doctors puts an end to the scam with fake experiments
.
3. Then in a battle with the main antagonist of the story of betrayal unleashed
colleagues.
4. Finally, untied plot chase. Chief surgeon pursuer respects the same as we are
. The scene of the two stars in the car (Harrison Ford and Tommy Lee Jones) - br
ight emotional ending of the film.
The "epidemic" stories one by one untied.
1. First, the threat of a bomb plot. The explosion did not reach the city.
2. Then the story of the antagonist. General arrested.
3. At the end of the story at the same time untied the vaccine and love:
My favorite character was the first woman, whose life was saved by a new vaccine
.
In "normal hero":
1. At first, the two tramps were reconciled.
2. Then untied plot Gail and Barney. The journalist found out who her true savio
r, and grateful to him.
3. At the end of the story unleashed Barney and his son. Barney admirable child.
Why it is important to clearly and simply untie all the subjects? Because the au
dience wants to see the story told to the end.
This story tells us that we have reached the limits of human experience. The vie
wer eventually emerged some new experiences. This value, it allows you to respec
t your time.
When it was the time of completion of history, it is important to show the endin
g podsyuzhetov so that they were intertwined in a story that is still told. Emot
ionally, there should be only one point. It is best if it is put in the last fra
me of the movie.
How not to give again an example of the great Shakespeare. When a character has
fulfilled its task, its plot is undone. In "Hamlet," first unleashed plot is ful
l. Hamlet kills him. Then it was the turn of fellow traitors Hamlet condemns the
m to death. Following is the story of Ophelia - she dies, in his right mind. And
ending nourish the development of the drama. By the end on the board, like a go
od game of chess: King. Queen, Laertes and Hamlet - 4 pieces. One scene unleashe
s all four plot and puts the final point.
The main advantage of a five-step framework is the ability to control the develo
pment of tension in the actions of the flurry of interest in the obligatory scen
e. When planned in this way are growing gaps and barriers, increasing energy his
tory.
You can always long before the shooting spread your efforts and resources to the
main blow was delivered in the right places. When the shooting starts, you neve
r know where will be caused treacherous blow. Suddenly the actor is unable to ta
ke over the load that you had planned for him; or poorly filmed the scene for a
variety of different reasons. But much more often minor scenes begin to sparkle
small opening. They should be involved in the overall structure. Without control
over the development of the film it is impossible. If this guideline is not a v
ector. It is to rely on quality. The footage is often sows the soul creators fal
se illusions: "So Paseno filmed that final assembly, we will achieve the desired
voltage!" No! The movement is not built to a climax in fact, as a chain of rand
om achievements. This chain of actions planned.

All the infrastructure of the film should work together like the wheels in Swiss
watches. Your intuition and talent make the structure visible. turn it into an
elastic, tight thread of life.
But without the structure of your film. like a body without a skeleton - a bag c
overed with skin and hair.
The culmination AND KEY visual image
Key visuals is what makes the emotional impact of the climax. It is useful to fi
nd them.
The climax - a place where the subject can be expressed with the utmost clarity
in the key visual image as a metaphor for radical ideas of the film.
These images can be very simple. But they grow out of the film. We will never fo
rget them. They arise in the head as soon as we remember the film.
Injun pulls out a heavy marble slab floor and breaks a window with bars.
Cabiria smiles.
Thelma and Louise took off into the sky, and froze.
Crazy writer (Jack Nicholson) is frozen in the maze ("Shine"). And suddenly we s
ee it in the center of pictures on the wall of the hotel, taken 50 years ago. Wh
en it was? What life?
The key image is often assembled from simple elements. In each frame, only one b
it is involved. Together, they gather in a single image.
In "8 1/2" one bit - the director collects all the characters in the dance, whic
h moves in a circle.
Another bit - at the center of the circus arena consists of three clown and the
boy. In our minds, these two images are joined to the image of the event, not sh
own in any frame entirely. This frame in the film, it arises in our minds.
Clear and emotional key image assembled from frames, the combined visual leitmot
if. Sometimes it's two keynote. In "8 1/2" are two - clowns and dance characters
.
First exhibited three clown and the boy with the flute. Then they will act - to
their music will gather all the characters of the film.
Then the magician ceremonies collects characters. At first, they look like white
shadows. This exposition of the leitmotifs of the characters.
The leitmotif of clowns develops. Marcello boy explains his role. He starts in t
he center of the arena clowns.
The stairs down to the arena the crowd of characters. Here, all the people we sa
w in the film.
Marcello invites with all the respect in the range of everyone, including his wi
fe and spiritual hierarchy.
He is part of this circle of characters, which moves under the clowns march arou
nd the arena.
It's getting dark. Clowns leave the empty arena.
Stayed boy. He leaves the stage last.
We see how complex image is divided into partial bits. And every moment is a met
aphor for emotional development in action.
Visual dramatic image can not act as a static image. This is not a picture in a
frame of the screen - is always dramatic action, part of the overall development
of the drama.
The key image may have a brief scene in the history of film, then it is acting e
motionally.
The distributor plate in the "Cuckoo" is shown as the first item. about which pa
tients are going to play cards. This is a heavy, lined with marble cube. The exp
osed plate as a part of everyday life. No gravitas nothing metaphorical.
Then Mack Murphy desperately trying to pull the cube from the floor. The metapho
r in action arose in the conflict and, therefore, convincing. At the end of the
Indian plate and separates it breaks a window with bars.
Development metaphor turns our understanding of the impossible.
If the key image is saturated with details, it is perceived as a rebus. We can e
xamine how the picture frames in the museum - we do not have time for this inner
freedom and contemplation. Our consciousness is subordinate to the development
of history. The image is assembled from simple and clear to read items. Therefor

e, the best method, which helps the key images to enter our minds and cause an e
motional reaction is a dialectical montage Eisenstein. Simple visual bits encoun
tered in mounting the phrase and create a complex image of simultaneous events.
In "Andrei Rublev" Tarkovsky's final final novel procommits a key way - bell ringing over the expanses of Russia rising from the ash
es. And at the foot of the belfry, among embers Andrei Rublev comforted the youn
g wizard. After winning a young man a nervous breakdown - all the power given to
the bell. This is one of the best metaphors of creativity, I know.
At the Cannes Film Festival competition film showing "Cinema Paradise." At the c
limax of the film hero looks carved out of American movies ecclesiastical censor
kissing heroes in the film's climax. Continuous long series of great kisses: ki
ssing Clark Gable, Vivien Leigh kisses, Humphrey Bogart kisses, kisses Ava Gardn
er, Grace Kelly kisses ... applause broke out in the hall, and then began a gene
ral hysteria. Feed favorite movies if poured from the screen. The audience jumpe
d up. They shouted, cried, clapped, stamped their feet.
I have never seen such a triumph. Of course, the film won the "Palme d'Or". This
famously coined the image of the key tossed in the final film to new heights.
PART FOUR. FROM screenplay
ENERGY NATURE
Develop energy of character - this is our challenge of continuous action. When t
he character radiates energy, it all interesting.
But this character is to get the goal to which it aspires. If the purpose of cal
ling, beckoning, if it is important, the character will achieve it all. that he
has in his heart and soul. And he disembowel yourself inside out. People who say
"I'll do it," we are interested in.
So we say, dramatic story - is "someone that wants to do to get things done at t
he risk and courage."
Criminals rob banks.
Lovers seek reciprocity.
Unfairly accused of restoring justice.
And each action can open the face of the unique nature.
Remember how in the movie "The Graduate," Dustin Hoffman reaches the girl he lov
es. All against him. He had an affair with the mother of the girl, and she said:
"He never have my daughter!" It knows the girl's father, and is doing everythin
g possible so that the marriage never took place. The girl cool groom - a health
y, beautiful, strong. Priest in the church has got engagement rings ... But the
hero Dustin Hoffman has a purpose, and it crushes all obstacles on the way to it
. And takes his beloved from the wedding. The goal, which attracts - a powerful
energy boost.
And remember Dustin Hoffman in the movie "Straw Dogs." He is timid, shy mathemat
ician, but he again is the goal - to protect life. He takes up arms to kill rapi
sts.
The goal, which requires protection of loved ones, reveals the nature of unknown
forces. Growing rates in the struggle with the enemy, and with it grows the res
ponse strength of character of the hero. But if the goal is indistinct, blurred
- just blurred traits. You will not find any large paintings, where the characte
r of the hero did not have a clear, understandable target audience. How else are
we to love him? Making the audience fall in love with the hero - with this task
starts every film, designed to involve the audience in their world.
The hero of the film "Evil things" beautiful, noble, intelligent teacher with di
fficulty maintains the distance that wants to reduce the fractious Rich Girl, hi
s pupil. She just reaches into his jeans. And when he rejects her attacks, accus
ing Hero of rape. Each spectator is clear. that capricious merzavka lying resent
ment. But the hero's life is destroyed before the trial. We really want to win,
and he regained his good name. And he wins - we are happy and waiting for young
slanderers prison.
But suddenly it turns out that the hero - a complete scoundrel that he long ago
in connection with the schoolgirl. And together they conceived intrigue to pull
out of the rich girl's parents eight million.
We are furious and disappointed - this is what the filmmakers are making: at any

cost emotionally involve us in the actions of the characters.

First love and then hate. To do this, first laid out on the table cards to help
the hero to fall in love, he does the trick, koto
Paradise then it turns out to be false. Following this, the true purpose becomes
clear. It is, of course, changes our attitude toward the hero. But not a single
moment of the hero is not without movement to the target. And the real purpose
may be permanently hidden within nature, and some part of it necessarily visible
, understandable and operates on a conscious level. This is very important - we
need to understand what the hero succeeds at this moment. Here and now.
Michael Corleone has a goal - to get an education and to do honest business, des
pite the family business. But he must save his father - this goal is changing al
l his previous plans. Then he should take revenge on the murderers of his father
- only this will save a family from destruction. Then he must destroy all the e
nemies of the family ... And so, step by step, from target to target Michael hig
her and higher in the palaces of the devil creeps. Individual goals are woven in
to the action through which transforms into an angel of the devil.
The hero must be a cross-cutting goal - one for the whole movie. It occurs as a
chain of conflicts. In every conflict, the hero achieves his goal. They graduall
y gather and grow.
The purpose of the hero of the film Fellini "8 1/2" - to make a film. He interfe
res with a whole bunch of conflicts. They are connected to a hard broom. And the
fate of the hero's nose pokes it with a broom, driving him to hell death. But t
he hero finds a way out. And achieve their goals.
Goals do not necessarily create a rigid sequence. Each of the heroes of "Casabla
nca" has a purpose. One need to get out of the Nazi hell. others want to prevent
them. At the main character Rick apparent goal - in what not to get. But the re
al goal - to save the woman he loves. And she slowly appears to climax. All targ
ets in the climax heroes become clear - without the idea no one starts a movie.
The problem is that the viewer clear goals were the heroes from the first to the
last moment of the film. Objectives nature may vary, contradict each other on o
ne condition - they are parts of a single cross-cutting objectives through a sin
gle super-task.
The hero of the film "I've had enough" (Michael Douglas) in the process, killing
five people, destroying part of the city. But the energy generated by one conti
nuous alluring goal - he was going to a birthday to his daughter. For him, it is
very important because it is the last frontier of self-esteem.
The hero of the film "Escape" (Harrison Ford) is unjustly sentenced to death. By
chance he escapes from prison. But its goal - not to save their own lives, and
the restoration of trampled justice. And this goal retracted threat to the healt
h of millions of people and save lives
wounded boy, and continuous risk to the life of the hero.
We set the goal - one from beginning to end. The goal - is the most important ta
sk is the direction-through.
Man pulling a heavy suitcase the night - this action. What is his purpose?
1. Hero kicked his wife, and he goes to the other ... Or is drown, suitcase tied
to the neck.
2. This is a thief who has found in a stolen suitcase cup of their favorite team
, and wants to return the suitcase idol.
3. The plumber carries a suitcase with the items on the main square to connect t
o the city sewer fountain and fuck festival.
And so on. The essence of the character opens his purposes.
PURPOSE OF CHARACTER
In order to understand the nature of what he wants in fact. what is its true pur
pose. it is necessary to answer the 4 questions.
1 . What do I want in general and in the specific sense?
"In general," - a cross-cutting nature of the problem in the whole movie, "speci
fically" - is a consecutive series of desires from episode to episode.
The hero of "Psycho" in general, wants to fulfill the will of his beloved mother
. Specifically from episode to episode, he wants to maintain a full order at you
r hotel. To this end, he kills everyone is jealous of his mother, and hides the

ends of crimes in the water.

I want to beat the opponent on the ring - a cross-cutting goal. A specific goal
of the episode - to get and eat steak and fresh blood to gain strength.
2. Why do I want this?
This question specifically connects you with other characters conflict. Because
I love Juliet jealous of Desdemona ... ... I hate Guildenstern and Rosencrantz .
..
In each action, my motivation should be concentrated in one answer that will abs
orb all the others and guide my actions in the development stage of the conflict
. In each scene, the main motive is to
to be alone. The main reason - is unique. Then I know what I should do. Answerin
g the question "why", you agree to answer a question for anyone.
3. Against whom I want it?
Usually, the antagonist anti because he standing on the road. But as obstacles c
an act anyone - my friend, my girl, random people - everyone who creates a gap b
etween my desire and the need to bridge the gap on the way to the goal.
4. How much pressure I feel?
This gap barrier internal problems and countering each one I'm in the way toward
s its goal.
From simple actions constitute a complex chain of combined-through.
The main objective of the nature of actions should be established as soon as pos
sible, as this helps the audience to sympathize and empathize with him a hero.
The hero of the film "The Mediator" (Samuel Jackson) - a black policeman. It is
very seasoned, maintain composure in any situation. But his partner opened a lar
ge theft at the police station. Teammate killed. The hero is accused of murder.
He is waiting for death. And under the pressure of a dramatic situation he makes
an unusual act: taking hostage the police department. So he wants to achieve th
e truth. He goes to her, risking their lives at every turn. The enemies want onl
y one thing - to kill him, otherwise they will die. Every minute of enemies come
s strength and capabilities, and the hero is getting closer to a solution: who s
teal the money? The greater the risk, and requires courage hero, the greater our
sympathy.
If there is no doubt that the hero reaches the goal, the film is boring. All act
ions should resist the urge opponents hero gaps, barriers, strengthening of the
antagonist, unexpected defeats and blind alley. In this struggle, the goal becom
es clearer.
The aim should be to have a great attraction. The goal - is a magnet that draws
the characters and reveals character traits. The main purpose of operating conti
nuously and ancillary purpose of lining up as needed from episode to episode.
But the main goal. attracting hero emerged at once, can clear up slowly, getting
rid of temporary purposes. Temporary
objectives as they are, look powerful magnets - we even take them for the main p
urpose, until finally the main goal is not to come out, freed from all masks, co
ver-ups and small deceptions. For example, the hero falls in love, rescues his b
eloved, fighting, away from persecution, and it turns out that his goal was to k
idnap the girl to get a huge ransom, and "Love", "Salvation" - is the only moves
in the game. Genuine and important task through action - the kidnapping, and ga
me of love created subsidiary goals and objectives.
Through the action of nature extends through the entire chain of the film. consi
sting of a variety of action-reaction. The more active steps, the more manifest
in nature.
We must understand what motivates a character in his actions. The motivation of
the hero - is the most important element of the film. All the characters want so
mething, but the desire of the protagonist - is the main goal. The fact that he
wants a hero - that's about the story. Only a clear rationale Action Hero allows
viewers to love it.
We have two levels of motivation. External - that the hero wants to visibly and
tangibly. Inner - why he does this. Internal motivation is hidden inside the cha
racter. We can only guess about it.
Motivation and action should be organically linked. The most simple and clear mo

tives make the characters act in order to overcome the obstacles on the way to t
he goal. The viewer responds to the vital goals.
That is across the desires - that there is a conflict. To overcome the barrier o
f conflict - it is the only opportunity to reveal the character. Overcome one "a
cross", followed by another. So the character goes to the goal, overcoming one o
bstacle after another. And we know what a character
ter. And each successive barrier higher than the previous, and in every action c
haracter becomes more active, his energy grows. And for us it is clearer and dee
per.
WHO? WHAT IS HE DOING? FOR WHAT PURPOSE?
Every moment of the drama characters are. They want something and achieve. If th
eir actions do not create conflict, drama fades and becomes a story.
Young ballroom dancers dance their dance includes new steps. They are effective,
but the judges did not want the old new. They punish dancer. And explodes a ser
ies of intrigue, passion, suffering, weeping ... All characters are revealed. Th
is film "Strictly Ballroom." But we understand the actions of each:
1 + 2 who makes + 3 = what purpose character.
These three questions provide the first glimpse of the character. These three qu
estions we ask each character in each scene.
WHO
First we need to know just what makes it possible to operate the character convi
ncingly in their own interests. We have to understand his motivation. Make sure
that he was not a puppet of the author or director. The audience must believe he
ro. They must be convinced that nature is very necessary for you.
Who makes + + Why = this is the character in the drama of history i.
1. The doctor leads the patient.
2. He is looking for an empty room,
3. to unleash the patient for a bribe.
1. Amateur riding
2. trying to fall from a horse and broke his leg,
3. to obtain insurance.
1. The policeman arrested the drunk Professor of English,
2. concludes it overnight in a cell
3. to learn English.
1. An elderly man in a disco
2. dancing with all young girls,
3. to gain support group for singer-granddaughter.
1. A little girl with a religious upbringing and love of parents suffering that
they are swearing all the time and it will go to hell.
2. At night, she takes a gun and kills them,
3. that the souls of parents are in heaven.
As characters come into conflict
In nature it can be seen, and select one of the three landmarks:
- Will,
- Emotions
- The mind.
One of them determines how the character is part of the conflict. We sharpen the
character in the direction of the dominant. How to turn the tip, and we reveal
their conflict.
Three people have to enter into the cold water. One tries the water leg. With ho
rror jumps. And with a cry rushes into the water - whether it be! It's emotional
.
Another, clenching his teeth, slowly enters into the icy water - a strong-willed
.
Third sprinkled themselves with water, rubbed, body accustomed to the cold, and
then enters the water - smart. He starts the action after the first, but the res
ult will achieve faster and safer.
Three people have to enter into the fire - they need to bring something importan
t from a burning house.
One sobbing before rushing home. Then, mad, rushes into the fire and burns - emo

tional.
Another mobilizes all his will, throws a bag over his head and comes into the fi
re. It burns, but performs the task - a strong-willed.
The third calculates the risk, first outlines a plan of action. Then he throws a
bag over his head, douses himself with water, is a fire and moving under the in
ternal plan straight to the goal. Faced with insurmountable danger recedes, it b
ypasses. His mind always compares the alternatives, assessing the risk - is smar
t.
We must, on the basis of the biography of the hero, make it clear to the audienc
e as the character enters a crucial conflict and how to work.
Emotional - impulsive actions, ignoring the trade-offs. Strong-willed - to conce
ntrate all forces to achieve this goal. Smart - Find your position ensures victo
ry. Or, evaluate alternatives, renounces direct action, looking round.
Dominant behavior in the conflict - the quality of character, a question that re
quires an answer. For him, knowledge is useful biography.
CHARACTERS AS SCULPTURE
Three views depict us the nature of us with the necessary completeness. help us
to understand how it will operate in the conflict.
1. physical appearance.
2. The psychological portrait.
3. Living in a social environment.
Illuminated three sides character acquires volume.
We must answer all 10 questions to the nature of acquired original appearance.
1. Intelligence - how he makes decisions.
2. Physiology - health, age, abnormal, disease, the attitude to sport.
3. The social base - the origin, class, religion or party.
4. The economic base - how rich, or in debt, or a beggar or a thief.
5. Talent - which differs from the others: the musician, the robber, the athlete
.
6. Foreign interests - something outside of work, the degree of enthusiasm.
7. Sexual life - in the family, on the side, if there are problems.
8. The family - wife, parents, children; he connected with them; getting married
; what kind of relationship.
9. Education - where, how, with what success: self-taught.
10. dislike - not stand frogs, fat hairy brunettes, the smell of fish, work at n
ight.
We do not need to throw out all this information to the audience. We need to kno
w more than they, and more than artists. You need to answer these questions if t
hey will be asked. And the rest of answer:
- It does not matter.
It makes sense to know just what helps to develop properly the conflict. In any
case, the point from which we start - this is not a character in the full sense.
The character has gained shape, but they are superficial. The essence of the ch
aracter can not be determined directly, in a moment. Viewers want to penetrate t
he outer shell of this, and so do we.
Deep character appears only under strong pressure dramatic situation, when confl
ict breaks off his mask.
Characterization and profound
First look at the characters are always superficial. We describe a glance just w
hat the character wants to appear, but not that. what it is actually.
You did not say anything about the characters of the true, the event is not pull
out of the essence of nature hidden within even against his wishes.
The true essence of the character shown in the conflict. Event conflict shows th
e values ??for which the character has to fight, achieving goals.
The higher the pressure, the more we understand the essence of the character. By
the choices it makes under pressure.
Character - an ethical choice under pressure of dramatic events. That showed cha
racter: courage or cowardice, selfishness, or compassion?
Risk and danger define the character in the drama. The chauffeur driven to the c
oncert of the famous singer. The driver seemingly simple guy. In fact, his paper

s are forged. He escaped from prison, and now tries to live

quietly, without getting into anything. A passenger - a famous TV star, the idol
of young people, a favorite of the press. Young mother called his name their so
ns. While this is only a characterization, though viewers think that they know t
he singer as a mother. And in front of them turns a bus full of children.
It may be that lurks in the depths of both courage and kindness. The singer will
confirm that people are not deceived in sympathy for him. He rushes to save the
children, although the risk of life. But the critical decisions are often not m
ind. For the driver situation is more complicated. He can not light up. He went
to jail to save the child from a drunken scoundrel. But the bus could explode at
any moment. We must act with the risk and courage. And the risk increases with
each passing second.
Only actions will confirm each moral choice and open nature of the essence. So w
e will be with interest the spectacular event, which will open these characters.
A good film is made up of a chain of events in this chain makes it the director.
Actions characters strain the conflict - the conflict explodes event, the story
goes on. Actions characters on a new coil strain the conflict ...
The actions of the characters are important to us motivation: why am I doing thi
s?
Path to the goal - CHAIN ??ACCIDENTS
Similar to the first view of the action means something quite different because
of the purpose for which they are made.
What is the point of having to run a chain of bright target and active steps to
move the hero to this goal? With the goal, we all the way the hero can develop a
chain of catastrophes, heavy chain of defeats and victories. We can move away f
rom the target, not afraid to lose it. The hero in the long term must conquer th
e North Pole, so the story can throw it in Africa or Japan. We know he will esca
pe and reach the goal. But if the goal is expressed vaguely: the hero loves to s
uck cold snow - then we should mark time on a snowy platform, and then we may
We claim to forget his low desire. A distant goal, leading the hero through the
message of the film - is the most important task. It is best to perform action.
In each character can be found 2 levels (this helps to develop the conflict).
1. The emotional level of perception. Sociable, unsociable, successful, anxious,
suspicious, trusting.
2. Physical state. Healthy or sick, tired. Neat or sloppy. Ashamed of her body,
or proud of it. Limping, slouching, stuttering ...
These two levels help to identify the true nature of the body. This truth convin
ces better than words. To reveal it. useful to know exactly what the character w
as doing 15 minutes before the scene. And what he did for 6 hours before the sce
ne: sleeping? I drank? fought? He escaped from prison? This knowledge is quite s
pecific, it helps act truthfully and unconventional. We know. What specific even
ts preceded the stage. The viewer can about them and do not know, but it allows
us to enrich the behavior of the parts.
CHARACTER thinks and makes decisions
Is there any big-name writer who wrote many novels, teaches the young playwright
. If you need a deep character, we want to know everything about it to the botto
m - this is the advice from another profession. We need to know the main charact
er trait. Only! With it - the battle! The main feature - it's the nature of the
grain. If you know it, everyone will grow out of it.
The hero, like Christ, must be overvalued idea. Jesus wanted to convince people
that he - the Messiah, to change their zhizn.On ideal hero of the drama. This fe
ature allows it to act convincingly in the plot. Everything else is subject to t
he development of character due to the nature of the audience. They should love
it (or hate). Emotional connection with the character called "empathy." This is
when your thoughts and the thoughts of the character one.
As the hero thinks - it's important to understand and love it. Let's see how the
brain makes decisions on the character of a primitive scheme.
We are not scientists. We need to understand the simplest elements that are asso
ciated with each other and allow nature to look alive.
Thinking in the drama - it means to take decisions and to act. What is useful fo

r us to consider, to show how the nature of decision-makers.

1. We build logistics operations, every bit of behavior has a cause. Every step
has been taken because it led to the clear reasons that are understandable to th
e audience.
2. But a lot of the characters do not know and have to rely on intuition. They f
ace pieces of information, draw conclusions and turn them into action, it is des
irable - with risk and danger.
3. Sometimes the characters act contrary to their own benefit and use. They are
led by emotions. It is as natural as a logical action. Especially in a dramatic
situation. All this fits in one head, plus surprises that throws uniqueness.
The intelligent response to the world of nature is explained with the help of an
attitude (attitude) - is the philosophy of nature in relation to the subject. T
he way the character is coming to life, and from this point evaluates the subjec
t of the film. Robbery - robbing one to get rich at the expense of others. That'
s his business. Stalin as a young man robbed banks to change the social injustic
e. Someone may rob a bank. to pay for an expensive operation. The attitude - a d
efinite answer to the question of the film, which matured in the mind of the cha
racter based on his past life.
Always a hero in the film has one an attitude, and an antagonist - the other, th
e opposite. And this clash - the most interesting part of our work.
We have to explain the actions of the hero to achieve the main goal of the audie
nce to understand what is happening. Therefore, we need to understand the nature
of an attitude. As he understands it, and how. on the basis of this explains an
d justifies their actions.
It's like a cross-cutting task role. And at the same time look at the nature of
the world of the film. Do not interfere in the actions of the situation rather t
han words to explain their positions.
The attitude - a philosophy of action of the nature of the conflict.
The intellectual and psychological reaction to the world combined.
The attitude must be expressed in one or two sentences to explain as easy as pos
sible actor.
"Money twist the world - and I know the price of everything."
"If I were indistinguishable from the other, I will have no problems." "Zeleke,"
Woody Allen movie.
"The law - it is good. But if we add to it the fist and gun, it will not be wors
e. " Dirty Harry.
"The two main things in life - freedom and friendship." Mack Murphy "Someone fle
w over the Cuckoo's Nest."
If the viewer realizes an attitude of the hero, he is actively respond to all hi
s actions. Moreover, it is not necessary to ponder the philosophy of nature. It
should be simple, clear and vital personal experience for everyone.
Psychological reactions to the surrounding world. Attitudes and viewpoints.
My view of the conflict scenario comes from my self-awareness - an attitude this
is my. I'm beautiful, off my chest, no man can not take his eyes. When I turn m
y back to them, they die with delight. I always attractive, and if I want to do
with any whatever it takes.
This is a view of the heroine of the world, its an attitude - its philosophy, wh
ich allows you to make decisions in conflicts. Based on this simple philosophy,
the heroine wears bright fitting dress, wearing a lot of jewelry, combed from tr
endy hairdressers, it takes place in the center, in full view. He speaks loudly
and confidently, readily laughing to show dazzling teeth.
And how it evaluated the other? Attractive, arrogant fool. If it praise and best
ow compliments, it can do anything you want.
But there is a third point of view - that the author thinks about it? 'It is emo
tional, wasteful, experiencing defeat as a tragedy, but it has a life force. She
, like Roly-Poly, falls and rises. It has great potential for change and growth.
We made ??her a heroine, the audience willing to love this character.
But the quiet, modest, always frightened girl. She knows that the world is full
of enemies. Gape - instantly'll eat. She chooses a place in the corner, he shudd
ers when it is accessed. She does not believe that she may be lucky. Better to p

ut out less often mink and do their job as best as possible and quieter. It is l
ike a mouse. This is her an attitude.
What others think? Without flight, but attentive, diligent, it could take more t
han a worthy place, if not timidity. If her dress up and comb pomodnee give odds
of any beauty. But her shyness ruin. This view of the "mouse" on the part of co
lleagues.
What does the author? Put it in a position where its solutions depends on everyt
hing. I am sure that she has the stamina.
If the world of the film is shown from the perspective of the main character, yo
u have a chance for the original story. Utility room, from the point of view of
a gray mouse, full of danger and fear. And suddenly the mouse should take a majo
r decision that will change everything.
When you are in the story that is not enough, check - maybe you are missing the
point of view of the protagonist?
1. What is it threatened?
2. Why is he doing this?
3. What he sacrifices, achieving goals?
The plot - a way to move the hero through obstacles. The character appears only
in the clashes. Then, the viewer may be in the skin of the hero, to fight to vic
tory.
We put it in a dramatic situation when it is necessary to discover and put to us
e all the reserves of his character. Some she herself does not know. That would
be an exciting development, when little mouse turns into a furious tigress. And
this development of three questions will always work together:
1. Who?
2. What does?
3. For what purpose?
The attitude of the hero can grow, can change, but only on the basis of a very s
trong motivation and ultimately convincing action in the conflict.
Three views on the nature
As you can see, each character in its development can withstand three conflictin
g points of view.
1. As the character thinks of himself?
2. What other people think about him?
3. What does this author?
Only the author knows the truth and it leads to conflicts and characters through
action turns, but so that the characters themselves are not aware of it. Becaus
e the author knows more than anyone else, and holding a strategy of character de
velopment.
Who is the hero?
Whose history? Who is the center of the story? It is necessary to determine firs
t. It seems simple, obvious thing. But in practice Resolution of
build character in the center of history means you pay more its problems all ove
r the place due to the development of others. However, imagination somehow by it
self brings to the fore the characters, which is easiest to identify themselves.
The most common stsenaristok young protagonist - a young attractive girl lives
unjustly offended. When a guy writes the story of Cinderella, a hero of history
becomes a prince. He fell in love, he is suffering, he is looking for and make h
appy poor girl, that without it faded to the kitchen.
As a joke, when two hunters go past the monument to Pushkin, and one asks the ot
her:
- Why Pushkin? Got something Dantes.
Young rezhissersha writes a story about the bus driver, who is in love with a co
nstant passenger and rescues her when the bus seized by terrorists. The driver o
f action and a lot of bright emotions. It seems that the history of the most use
ful to develop a conflict with the driver in the center of the character - he sa
ves, he was risking his life. But rezhissersha sees the value of history in the
passenger experiences a young, they close it.
It is useful to remember that the drama occurs as an emotional response to the a
udience. Anything that can develop this emotional connection, useful for us. The

refore, the rules suggest that the maximum power of the story, you can unwind by
determining whose story is in fact actions and emotions.
Drama - is an emotional response to the audience the hero.
We put in the center of the character, which is more than the others wants somet
hing. The hero of a clear goal, and it leads the way through the most compelling
barriers. Therefore, it has the greatest chance of empathy its dramatic situatio
n.
Question: Is it possible to make a movie about two different characters? Each ha
s its own story. They are joined in the overall plot. Such a film can be made. B
ut it will be twice as worse. Why is that?Because the audience should give the h
ero all his heart. Half an hour - too short a time to empathize with two differe
nt possible development of two different characters. Two different characters th
e audience can give only half of his heart.
If the two characters from the beginning the two halves of the same story: they
have common enemies and they act as one unified hero - our hearts to give them f
ull. Who are the heroes of "Romeo and Juliet"? Romeo and Juliet. As Shakespeare
once wisely combined the two characters together. In Romeo and Juliet is not the
history of love. Romeo does not depend
voevyvaet Juliet, not jealous, not discourage an opponent. Their love of the com
mon barriers and gaps - feuding families, friends in common - a nurse and the mo
nk Lorenzo. The enemy of the hero immediately causes suffering to another. All d
evelopment is subject to subject.
However, you can develop the story and how the story is mainly the story of Rome
o and Juliet like. In today's films often do just that: the story of a character
do the main plot. The rest of the characters are developed in the characters th
at push forward the main story.
Mack Murphy - the protagonist of "Cuckoo". His story home. A love story develops
as Billy podsyuzhet.
Normal film freely withstand 4-5 podsyuzhetov around the main. They have a duty
to the main story - they have to push it forward to the climax. All the characte
rs have to move their conflict development of the main conflict. All work togeth
er to help the audience to love or hate the hero stronger. Of all the main chara
cters is useful for us to determine the basic shape to help the main character.
This catalyst is history, or Catalyst.
He makes the hero act. Usually Catalyst - an enemy or object of love of the hero
. Enemy forces the hero to meet the current threat. The object of love is necess
ary to conquer or defend against enemies. Characters are often called Catalyst a
xial character. It is located on the axis of the plot, he pushes the action, it
is necessary to save or kill. And the hero is moving toward the goal of zigzags
vicissitudes, overcoming the gaps and barriers provoked axial character.
In "The Overcoat," Akaky - hero cloak - Catalyst, the object of the love of the
hero.
In "The Godfather", Michael Corleone - the hero, his father - Catalyst, the obje
ct of love of the hero; saving him, Michael acts.
In "Cuckoo" in the main plot Catalyst - a nurse, she was the enemy. A podsyuzhet
e Billy - Billy Catalyst, each hero.
In "Nights of Cabiria" Catalyst, the object of love - an accountant.
In "Othello" hero Othello, and Catalyst - Iago. He is an enemy hero,
In "The Cherry Orchard" heroine Ranevskaya. Garden - the object of love. He -ose
voy character and history of the Catalyst. The whole drama develops around its r
escue and murder.
But each of the axial character has its own history. Cooking - the object of lov
e Ranevskaya; its plot - failed love with Lopakhin. Anya - the object of her mot
her's love; its plot - the path to a new life. Ranevskaya missing lover - like a
stone around her neck. And he would drown her, she understands it. LOPAKHIN - t
he enemy, he hangman cherry orchard. He wins the conflict.
All of these characters have their own stories. We call them podsyuzhetami. In "
Romeo and Juliet" Mercutio - each character; his story - a duel with Tybalt. He
pushes his death the story forward.
In the overall structure of drama development of the protagonist to be the most

complex and detailed, and are located around the other characters with their own
stories. The farther away from the character of the protagonist, the easier and
more concise his story, his podsyuzhet. At the side characters should not be th
eir subjects, they serve basic.
When the structure in your imagination acquired harmony, you can get accustomed
to yet another structural problem of the maximum energy of the drama. Drama - it
is a war of each against the other. Firstly, it refers to the main character. H
amlet is in conflict with
all the characters of the drama. Juliet, no one fights, but each gives her suffe
ring - at war with it. Father and mother - married off to Paris and, of course,
oppose Romeo; brother Tybalt - the reason for separation from Romeo; monk Lorenz
o - in the end the cause of death of Romeo; Count Paris - pushes to death; the r
uler of the city - banishes Romeo; Mercutio - provokes the murder of Tybalt.
To test this out war helps the scheme. Do not you have left character allowance
for the conflict?
Hurry favorite characters
1. It is - the center of history.
2. His motives are moving plot.
3. Hurry to identify emotions that help the viewer to compare himself with the h
ero.
4. The hero must evoke sympathy. To do this, he must be in a dramatic situation
- the sooner the better.
5. Danger, which turned out to be a hero, to grow faster than its ability to cop
e with it.
6. What is the love of the hero?
a) A good and kind.
b) Funny and fair.
c) A skillful in his business.
7. The problem of identification must be addressed immediately. First, sympathy,
then everything else. As soon as possible get acquainted with the hero of the v
iewer.
8. endows the hero strength. What?
a) The strength of the power over people - Kane. Michael Corleone.
b) Actions without hesitation - Schwarzenegger, Belmondo, Rimbaud.
c) The courage to express their feelings - Dustin Hoffman in "The Graduate."
g) The strength and depth of experience reactions to the reality - Jodie Foster
in "Silence of the Lambs," Jack Nicholson in "Cuckoo".
9. weaknesses and shortcomings should be recognized and understood: drinking, am
orous, a lazy ...
10. Open and understand the reality with the hero, the eyes of the hero. His que
stions to the reality - the same as you. He seeks otgadki with you. It pulls tog
ether.
YOU - GOD OUR HEROES
Connect incompatible
The characters in the movie look like real people. They are no different from us
, even though we know it is made-up actors. They are more realistic than dramati
c actors in the theater, ballet dancers or singers in the opera.
However, professional opinion on the characters says, the characters are not liv
ing people. But who?
They - a work of art, they are made by you. They are not living beings, and the
metaphor of living beings. They do not live more than drawings by Matisse or Pic
asso portraits. But at that hour and a half that it takes away the film, the aud
ience can recognize them is much deeper and better than their own neighbors for
20 years of communication.
We draw the characters created by their precise and concise strokes. And just as
the drawing occurs in the lines, as occurs in nature, the conflict, and only th
em. If you think that you can take out of life and move to the screen a characte
r familiar to you, you and the audience will be disappointed - you get only a pa
le copy. When you dream, "Oh, it'll be fine shot shows the operator and finely t
uned to the music!" - It's the same as if the artist,

looking at his imperfect work, he decided: "In a luxury frame and a special ligh
t pattern impressed the audience."
If you have an idea contradictory actions in the conflict to combine in one pers
on two or three opposing character, you will see how your life will flash charac
ter.
French comedy "Jaguar". Hero - charming, flabby varmint, the player cards. He lo
st half a million, he faces death. But he, by the will of the authors, mysticall
y connected with the Brazilian magician and in desperate situations turns into a
jaguar-man, Superman's extraordinary strength and fury. Two opposite nature to
create one original image. It seems that the authors have carefully studied the
sketches for the actors in the system of Stanislavsky, "Seek some animals to det
ermine the character of the grain. The man-dog. Elephant Man, the man-eagle. " G
ood advice.
Character in the stories you need very little. You have to equip it with the abi
lity to clearly operate within the plot. The rest will grow. To do this you need
to know what the character wants to consciously
And that - subconsciously. You need to know what actions he achieves his goal. W
hen you write, "he looked ... he thought ..." and so on. D., And so on. N. - Thi
s does not apply, this assessment. If the character is only that, you unprofessi
onal. Our job - to come up with simple and clear steps and outline of the charac
ters.
We all dream of a profound nature. The structure makes them simple and clear thi
ng - the controversy.
"Jaguar" is a comedy - a joke. And the hero of the film "Silence of the Lambs" w
as not joking. He is a ruthless maniac cannibal serial killer. We know that in t
he life of these people are stupid, insane, close to the beasts of aggressivenes
s and straightforward simplicity of emotions. But Lester - an outstanding scient
ist, fine artist, he likes serious music, he has an analytical mind. He is a sup
erman and at the same time, he eater. Incompatibility this does not bother anyon
e, because Lester - not a man but a work of art. He coined literate authors and
has only one
a set of qualities that allow him to act convincingly in the plot. And if we loo
k at the Hamlet, we find that Lester - a child compared to him. Hamlet - philoso
pher, a murderer, a schemer, a cynic, a gentle romantic ... It half a dozen diff
erent incompatible characters. And this is the great character drama.
The energy of nature is unwound from one turn to another. Each turn injects into
you, the audience, a good dose of adrenaline, if turns throwing the characters
in dramatic situations abyss.
Romeo fell in love with the daughter of the enemy and secretly married her - a c
ool twist to the story, where all the characters are combined into two warring f
actions. But immediately after that gentle lover secretly breeds
Aligned with the family of his enemies, he killed his wife's brother - an ingeni
ous twist.
And what a contradiction - a gentle lover and an indomitable warrior-assassin in
a duel with Tybalt.
Well thought actions in turn determines the class nature of history and class wr
iter and director.
LOPAKHIN two acts to convince Ranevskaya escape from poverty by selling the cher
ry orchard. And then he bought and cut down the garden.
Michael Corleone was far from his family's criminal cases. And suddenly he kille
d the murderer of his father and his henchman police.
You can come up with a lot - your problem is that the actions were motivated and
persuasive. To do this you need to know about the life of the main character.
Not so much. Firstly, you must know two things that are hidden in his soul: it l
ooks like paradise, and it looks like the hero of his hell.
Simply:
1. How does he imagine the happiness? What is most important for him is love? mo
ney? Career? Friendship? honor? ..
Just do not bring down all in a heap - pull out of this pile of one dominant. Th
is will be the nature of the vector indicating the "paradise".

How to find a hell of a hero? It is even more important than paradise. For this
we need to understand:
2. What is the situation for him would be the worst? What he is ashamed or afrai
d of the most? What he would never allow?
Heaven and Hell - rough veshi. But the drama - the art of extremes, even if extr
eme hiding under a thin veil of everyday reality. Remember Chekhov: "My heroes h
ave tea - and die." Having a rough basis for the character, we can build exactly
the most subtle movement
tion of his soul. And it is very useful not dream abstractly about this heaven a
nd hell, and imagine them in the form of specific images. How does the angel of
the hero - his perfect development in happiness. How does the devil hero, ideal
black his soul? If your imagination is capable of, you are right. You will have
the exact, specific reference points between which the character will be filled
with the exact features unique image.
You imagine this angel. And then pressed harder dramatic situation and see: how
will behave under the pressure of this angel? It's the way I would like your cha
racter to behave. And what he does in reality? Realistic behavior is very differ
ent from the ideal. And you will become clearer direction of the conflict and th
e nature of the world. These are very useful exercises will fill your real detai
ls of the nature of the behavior.
In essence, you need to get an answer to a recurring question: how to grow the c
onflicts with the nature of life? We've only interested in action in conflicts.
The first vital accident in his childhood.
Major disaster life.
What is especially needed.
What scared. Fears. Mania. Alarms.
Leo Tolstoy said: "My personality is completely formed in the first 5 years of l
ife. At this time, there was 95% of my personality. The rest of life is added on
ly 5%. "
The small childhood experiences can have devastating consequences for human deve
lopment.
A student came up with a sketch. As a child, the boy loved to dive and get to th
e bottom of the different subjects. One day, diving, he put his finger in some r
ound hole and could not pull it off. He began to choke, almost drowned. And, of
course, scared to death. This fear of the ring finger was trapped in his subcons
cious. The boy grew up, he married. In the church, he must wear the wedding ring
on her finger. It can not - sweating, shaking and runs away in panic.
Or examples from movies. Stepfather raped stepdaughter. This terrible secret sex
life identified all women when she grew up. Sex for it is inseparable from viol
ence.
Brother and sister as a child saw his father killed his mother and her lover com
mitted suicide. This injury distorted their perception of the world. Brother and
sister love each other - the rest of the world they hate.
We are interested in how to develop character conflicts with other people and li
fe. List helps develop these conflicts.
When you answer these questions, you will not be difficult to answer the questio
ns that unite this information.
1. What the situation would be the worst? (Poverty, loss of prestige, solitude .
..)
2. How is your own happiness? (Richness, life in nature, power, love, children .
..)
3. How did he come into conflict, as a way out of them? (Beware aggressively fri
endly, panic ...)
INCREDIBLE! But this is so
After that, you is not difficult to answer the most important question:
making actions unpredictable nature than it is unique?
The action of the character in the climax to be unpredictable, so that the audie
nce got emotional shock. But on the other hand, the act must flow from the whole
experience of living nature - we have to believe the character's actions.
Who expected that Othello strangle Desdemona and kill himself? But this is a log

ical result of a great character in the drama.

Michael Corleone naturally turns into a criminal and the head of the Mafia. But
the fact that he turned into a movie in real devil - a shocking twist in the dev
elopment of character. Thus all arguments.
Regular and unpredictable action - is a major turning point in the development o
f character. It allows us to penetrate into the depths of nature, disembowel him
before the shocked audience.
I suspect that all of these issues seem to some people a great tediousness. In t
he end it is all about intuition of the artist. And intuitively you feel the nat
ure in its entirety.
Try to check the character issues, and you will see how many gaping holes hiding
in the approximate knowledge of the layman. The professional formula of dialogu
e with the nature of the author's simple: you have to like the Lord God, to know
the world of each character, his life, heaven and hell his soul.
And since all know you can not, the structure helps you. She drew attention to t
he most important moments of the life of nature that brings him to the audience.
REHEARSAL
Earlier in the movie directors who rehearsed a lot, been respected. Masters - on
e soul is removed from the actors, will invest another. The engineers of human s
ouls. But the Iron Curtain hesitated. On the first slit penetrated the French. A
week of French cinema came the legendary genius of cinema Rene Clair. And the m
ost respected master of Russian rehearsal director Julius asks Reisman
He:
- Tell me, how do you rehearse with the actors? On what system?
- Rehearse? With artists? And why? I do not ask them anything, so they could not
do directly.
All confused. Then he began to explain to each other:
- Well, he's a techie. This, he said, "The film is finished, left it off." He pa
ints in advance by the minute. Ha ha ha.
And where is the interior? Where is the soul? Where is the image of the birth of
the nature of the grain?
In Russia under communism films were infinitely long. Six months of filming was
considered the norm. Year - do not worry. Studios worked as government agencies.
All on the payroll. It is important to carry out the plan. pass 40 units per ye
ar ... And the quality? If the boss is not angry, bad thoughts if not, then the
quality is good. Quality Guarantee rehearsals were dimensionless. The director w
as looking for art. With a large and ideologically correct "AND".
Let's political instructor jumps out of the trench and shouted:
- For The Motherland! For Stalin!
Soldiers with enlightened individuals rise out of the trench and with maximum en
thusiasm shout
- Hurrah-ah!
In the sky, exploding fireworks white clouds. The same cloud "serve" the War of
1812. Civil and the Great Patriotic War. But feelings can be updated at rehearsa
ls.
Political officer in the trenches, ducking from enemy bullets, soldiers gathered
quietly, thoughtfully he said:
- Guys, I tell you before the attack?
- That, Comrade Lieutenant?
- You think of these words. They are simple, but they have a deep meaning ...
- What, comrade lieutenant?
And Lieutenant tears naturally sparse, whispered:
- For the Motherland ... and ... and ... well ...
- For Stalin? - Asks the young soldier. And the old man graciously swinging his
shoulder:
- Of course, this is the same!
- Hooray? - Whispers the lieutenant.
- Hurray! - Meet the soldiers in a low voice.
- Ur-ah !!! - Menacingly spreads over the trench. Soldiers with enlightened indi
viduals rush to the enemy.

A director of screws on a regular medal winner of the jacket. Processing methods

of this rehearsal is called '' reverse ':
whisper that relies scream, sit, when to stand. Better yet, lie down, utknis the
ground and jumped up with a changed face. This technique works well today. But
earlier he had helped in the fight against cliches, with time he became a stamp.
However, Brecht proposed a universal method as rehearsals found in live action u
npredictable. It's called: '' Not Used. "The actor made the" A ". All, of course
, waiting for what he would do" B ". All that is anything but" B ". Come to the
need for action is non-trivial, unexpected. A good method, if you have time to r
ehearse and fresh ideas.
Now everything is different. Must quickly shoot. 6-10 weeks, with good training
is sufficient. Center issues moved to the preparatory period. They produced a fi
lm project. The film is divided into scenes, the scenes are divided into frames.
And all is the price - time. Rehearsal in this order shrinks and loses its form
er prestige. It would be nice not to throw out the baby with the water.
The theater director in rehearsal at any time can change any detail.
But in the movies everything is done step by step, once and for all. The capture
d image can not change anything.
Therefore rehearsal before shooting - this is the last chance for the director t
o check the decision to get rid of the error, to develop the characters, heroes
breathe a breath of life, perhaps decisive.
Rehearsal in the film - perhaps not the cheapest part of the project. And the ef
fect of it can be overwhelming. The main income of the arts bring talents and re
hearsals - a place where talent thrives. For many, it is not obvious.
REHEARSAL in film and theater
Rehearsal in the movies need to actor received instructions from the director ho
w to proceed, step by step, exactly. And understand it, because no one but the d
irector does not know what's going on in the frame.
Still not a performance, it lasts less than a minute. Learn the steps briefly. T
herefore rehearsal before each shot short. When the hour when 5 minutes. Most of
ten, for about 15-20 minutes.
Incredibly difference rehearsals in the theater and in the cinema.
In the theater - that's all. This is the main element of creativity. The place w
here the performance conceive, bear and give birth. In the movie - most often it
is a purely technical procedure. Provides guidance: here sat here stood go ...
faster ... slower ... Look there ... turn around and shoot. There Delayed - a go
od light on the face ... This is a place, Go quickly and fall - you killed ... D
o not pull, die soon.
The theater is considered good form today to experiment in many hours of rehears
al, and the next day to cancel all and do it differently. In the movie, somethin
g to be repeated the next day in a different way once would have been unthinkabl
e violation of all norms. The second time is no producer will not allow.
In the theater for rehearsals searched character development and nuances of rela
tionships, style, shape ... In the movie, it's not only found before filming, bu
t also distribution
written by the minute, painted on the staff, noted in the monetary instruments a
nd money spent on training.
The theater director is rehearsing as an artist who sketched the outlines of the
picture on a huge canvas and draws the details, all the while seeing the whole.
Directed to the movies running almost blindly, as the creator of the mosaic. Eve
ry day he puts into the fresh concrete few mozainok. An hour later they were fir
mly rooted.
TECHNICAL REHEARSAL
When I was in Japan, I am given a work plan for the day, where every fifteen min
utes, something happened under the control of the producer, each frame relied tw
o rehearsals - 10 and 5 minutes. In the first actors show they understand guidan
ce director. The director looks and gives a small clarifying amendment. The fram
es of 28-35 pieces, painted on the eve of the director and staff are painted. Ch
ange anything. The second rehearsal is in silence and without crowd scenes. The
actors play the scene, showing the director, they realized his last remarks. A s

ound engineer records the dialogue text. The sound of this rehearsal will go dow
n in film as a main. Immediately afterwards declared shooting. And while shootin
g the director can make loud remarks actors, assistant to the microphone correct
s movement extras. The operator provides, if necessary, its instructions. Light
noise does not bother anyone: the sound has already been recorded. Deleted only
one take. Maximum - two. Two weeks - and the film was shot. Another week - he is
ready to show and forgotten.
I'm with the Russian habit to look at the rehearsals grain scenes and check diff
erent options for Japanese plunged into horror. I must obey the rules, but I sai
d:
- No improvisation on the set, I can not!
The Japanese said:
- Take into account.
The next day I got a plan to sign on every 15 minutes, even tighter prior. At th
e end it stood: "Improvisation gspodina Mitta - 15 minutes."
Fifteen years later I got to shoot an incredibly successful Dutch series. Then t
he shooting of two German cult series.
There I saw the exact same system. Only one day is not removed 10 minutes later,
the Japanese, and 22 minutes - the complete series. Each frame is preceded by a
short technical rehearsal. And all the rolls without stopping. Once a week, the
director of the series has been devoting a half day rehearsals. In one day, he
rehearses 50 scenes, in the next half - 30. These rehearsals can also be called
technical. The actors are familiar with the text, and learn the simple staging.
And the timing is checked assistants scenes. And these TV shows for several year
s maintained the status of cult. Moreover, their success increases. On the creat
ive rehearsal over the years is not a day. The question is, why should they?
Technical and creative REHEARSALS
Technical rehearsal is always needed. Without it you can not just start shooting
.
Creative rehearsal also can always improve the quality of work. But in some case
s it is less important in other helps a lot. If the scene is written situational
, it is possible to play on a "just do it stupidly." Often, the more simple and
direct, the better it turns out. Situational - this means that the characters ar
e in a given situation, the situation is unchangeable way, it is - as the animat
ed image. The meaning of the event is detected by comparing the unchanging frame
. For example: one shot - I run. Just run hard, looking back and ducking. Anothe
r shot: man running, waving the gun, sometimes it shoots somewhere ahead of the
frame.
We glue the two frames - get the phrase, "I am running away from the killer, who
is chasing me." The meaning of such a scene occurs at the junction of two frame
s of their match.
What is there to rehearse? I found the point of view showed the actors where to
go, and - for the cause. Just?However, this method made all the brilliant films
of Eisenstein. He suggested that this installation method. Each frame is unchang
ed, but the film as a whole is dynamic. Dynamics of action arises from the match
ing unchangeable personnel in installation. The film tells of the picture-in-pic
ture images comparing immutable and can unleash incredible energy action. Using
this method, the director, received a literary script, turns it into a comic boo
k: lays out all the action on the two or three hundred staff. These pictures tel
l a story comparing images immutable scenario
dence. You just need to make sure that all of the frames arranged in a logical s
equence. Story personnel - this is the movie. Words do not have to tell the stor
y - it's always worse.
Theatrical story looks different. When actors take the stage, the audience is in
the zero charge. In the eyes of the audience the actors constantly hyping the s
ituation to the maximum, setting the stage for the audience and connecting them
to the emotions of the drama characters.
Such a scene is impossible without a more creative rehearsal. Guy fired. Another
work there. He wound up all the failures. And on top of his wife unfairly and v
iciously berates him for some trifle. The hero grabs a gun and - boom! bang! - K

ills his wife. This situational solution - a simple storyboard, quick rehearsal.
An hour later withdrawn. Another version of the same scene. A man came home in
a state of treatment
dyanogo rest. He wants to get warm, to gain strength in the family! To deal with
troubles. But the room garbage, no lunch. His wife was lying, apparently just r
eturned from somewhere, smelling of brandy and tobacco. Children are rude - they
do not need a father. Even the dog does not flippers and bites. And on top of a
tube of toothpaste! Squeezed !! Not on the side !!! The guy grabs a gun and kil
ls his wife. This is the situation from zero to maximum. It requires a rehearsal
, but give it for the emotional involvement of the audience in the story where t
he characters are vivid and unpredictable. Such scenes in the film, too, is a lo
t. They are hidden a large energy potential. If you can guess the development st
age of the conflict, we are always emotions strengthen its creative rehearsal, u
nwinding conflict.
The technical rehearsal you use canned products: removing from tins something br
ewed a year ago and quickly mix. The text was written a long time, the light is
on, it remains short chop actors mounting pieces and the dish is ready.
In the creative rehearsal you get something alive: the product with vitamins tha
t are born and raised here and now. Most other nutrients in these foods. Actor o
f humanoid mechanism pronouncing text, becomes a living, thinking creature chara
cter.
This is a common word. We need to understand what makes a particular product reh
earsal. Why is not it worse. and with it better.
Rehearsal produces extra energy, very thin and highly organized energy of a live
momentary reaction, live naked nerve. And this is what is necessary to any film
. Rehearsal can transform stereotypical cliched situation in living life with an
unpredictable development. Rough constructive elements recorded in the scenario
. But the scenario can not fix all the things that will be born in a year or two
, here and now from the contact of unique actors. Everyone guesses who are hidin
g in the script, we find concrete solutions to the rehearsals, all allusions to
develop. The path goes through the internal energy gesture. It gives rise to a r
ehearsal.
INTERNAL GESTURE
The method works with internal motioned Stanislavsky. He said there is an active
, of which the viewer to guess about your chuvetvah. Charge an internal actions.
Actions "themselves cause the desired emotions."
As a young student shyly asked Stanislavsky that, of course, most interested in
the young people:
- Stanislavski as your method to make love?
- Internal gesture. You're looking at the object of your love. But in your mind
you do the next step: approached him. Took her hand ... ... we hugged kissed. An
d these inner gestures energizing you love. You really approached him, dance wit
h him. But in your mind, you move on, do the next step. You embrace it. kiss. He
takes hold of you ... And you the sky. All of a chain of internal gestures. The
y fill you with energy. This energy works most effectively if in your mind every
time you play the next step of action.
This advice is brilliant in its simplicity. She received a reply to a question a
s it to play love scenes in all performances throughout his career.
In fact, this advice is still universal. Using the internal gesture, you can sat
iate any additional energy dramatic situation any role. But this product is not
preserved in the script. It requires the immediate preparation of a fire on your
personal rehearsal, here and now.
The real problem is the internal gesture to availability. The fact that you can
offer to anyone. Which is the best? This is the answer. The one that gives you t
he maximum internal energy of a particular action in a scene. You rehearse and f
ind the best domestic gesture based on the 2 tasks:
1. The actor uses an internal gesture to fight their momentary state to deal wit
h the climate in which it is immersed.
2. Internal gesture leads you directly to the next step. It prepares your next m
ove.

These two objectives are at the same time together. You sleep and wake up. The d
ream is calling you - podremli some more. Life requires -vstavay to work. Your g
ame - the fight against the state, which have a floor
of coverage. Your inner gesture - "to go into the shower," ie, take the next ste
p. I do not want, and need. So sweet even if only a moment to soak up the bed. B
ut the alarm ringing. We must, we must, we must ... This conflict fight scene. Y
ou pull out of the microclimate, which you covered.
You eat breakfast. Your status is: a delicious coffee. some fresh
bun! It would relish and lick. But in the inner head gesture next step: the gest
ure sets the pace for the stage, her energy. "We have to run to the bus." You fi
ght with the state of the morning buzz, burning, hurriedly swallow of coffee. An
d the following action plan: it is a conflict scene. There is play.
You are almost at work ... lift takes you up to the desk. It is necessary to app
ease the breath and quickly put himself in order. What do you say boss? Again, m
y aunt was ill? You should not look as if running headlong. Are you struggling w
ith your state and rehearse the next step.
Internal gesture generates any energy - positive and negative. Energy plus and m
inus energy.
As a child, I could not sleep. Grandma said:
- Lie down and count sheep. One lamb is. the other lamb is the third ... Sheep l
amb filled the troubled my head and pushed away all the chaos lived day.
Internal gesture helped me deal with the state of hyperactivity. I rehearsed the
next step and fell asleep.
So we live in every day from morning till night. All my life.
We need to work? We are fighting with the state of laziness and plan the next st
ep. It is necessary to look good? We are struggling with their own problems. to
push them away and put on a deeper smile on the face: "I have all okay!"
Structure expressive acting - this is not an Indian focus, and a simple, familia
r to all life's problems: it is necessary to deal with the circumstances and to
plan the next step. Drama commented life. Naturally, in the work of your imagina
tion comes over every gesture bright inventions.
Work with internal gesture quickly and cheaply. You can tell the actress: '' You
're crushed by a regiment of soldiers marching to you. "And the regiment will no
t cost a penny producer.
You're talking to the actor: "Love her imagination as a porn comic character." A
nd no actress has not filed against you for sexual harassment.
Internal gesture - it Stanislavsky tablet rapidly soluble Stanislavsky. It acts
immediately and reliably. Therefore ye the world, he is so popular. Why are some
directors do not enjoy them? It's one of the mysteries of our profession. Perha
ps the young directors come to feature films and clips from advertising. They fe
el good frame, realize the installation. But they have little experience of work
ing
you are the actors. Maybe that's why they fear problems where they, in fact, not
.
The meaning of the rehearsal in cooperation director and actor. And the inner ge
sture of good combines your aspirations, you will always, of course, have in min
d beforehand invented action. But do not impose them on the actor. Let it will o
ffer you a choice of action, based on its understanding of the character. You ca
n check this in rehearsals, and do not need any explanation. Show - take away ..
. now I do what I suggest ... And then join our ideas.
Rehearsals and working with text
Usually the film in each scene of action target is outside scene. The hero striv
es somewhere, overcoming obstacles. And it turns out that the most important ste
p further in the next stage. And so on until the very climax of the audience wit
h the hero drawn into the story from scene to scene.
This is what we must remember rehearsing every frame. The main thing to happen i
n the next frame. This character thinks, there he seeks. If not, the story stops
immediately, the interest of viewers falls.
To strive for a boxer when he thrashes a huge hairy monkey with little red eyes?
Our hero almost crushed, but it reflects the actions of the enemy and fights hi

s state:
- I will not fall. Now I gather strength ... - His attention was absorbed by the
adversary. He is preparing the next step: - I'm embedding it!
The main outside the frame. That's worked as an actor in any scene. His attentio
n was dissolved in a partner. He follows him and preparing a response. But also
next opponent ... This coupling views we are working on at the rehearsal. In the
scenario it is almost there. And the film - it is a war views. During the war a
ctions. No shock looks dimly everything works.
But in life, not just in the movies, you're always struggling with the defeat an
d prepare the next step to victory. Only life is extended in time, broken into s
eparate events, immersed in the everyday life of ordinary existence. A drama com
presses those moments.
Hitchcock said it simply: "The film - it is a life devoid of all elements of bor
edom."
This applies to simple action films and dramas to complex characters with a fine
organization of the soul. Dr. Astrov in "Uncle Vanya"
speaks in front of Elena Andreevna impassioned lecture on the protection of fore
sts. But most importantly - beyond the lecture. In fact, he wants to hug and kis
s your love. It prepares the next step and slow ... When the audience realizes t
hat the character fights his true desire, she empathizes and is drawn into the s
cene:
- Well! Well ... do it!
This movement of the inner gesture is as if through the text, in addition to it.
But the text does not lose its value. He becomes part of the energy scene.
You will recall that only 16% of the energy of the film is heard through the tex
t, and 84% in the visible action. In rehearsal we grow 84% this action. We are w
orking with the text, using the subtext. And it is expressed in the inner gestur
e. It is also the task of rehearsing.
Text - this is what we hear the word. The subtext - what a hero really wants. So
metimes, in spite of the text across it. This inner gestures.
In Moscow, it seems normal. But in Japan on shooting heroin, I declare:
- You say the words that you are happy and think at the same time that you have
to live very long.
Producer suspicious listens to my explanations, then politely asks:
- I do not understand why the heroine says some words, and thinks others.
- Well, that's natural. We are in life because we behave. Stanislavsky is great
explained.
- Oh! I respect Mr. Stanislavsky. His novels are very popular among Japanese you
th (I understand that he has in mind Dostoevsky). But the Japanese audience will
not understand this. Please, let the audience for the Japanese character utter
aloud the words that she will think to Russian audience.
Television series and written. Everything in them is on verbal verbal level. All
specified. Therefore, the actors enough to learn the text and read the technica
l rehearsal. But in the movie, which reveals more subtle psychic energy, the tex
t - it's just skip to the scene. He must have action and dissolve in it. From th
e overall effect of this scene will rise sharply.
Actor and usually without the director realizes that the writer wanted to say. S
cript finished the job. You should not rewrite his dialogue, and turn them into
a chain of actions to satisfy the energy scene.
First, the text is necessary to understand that the actors understand how the di
rector wants to convey through the text meaning and significance of the scene. B
ut it is a short step. We then use the text to express the meaning of the action
s of the scene and fill it with energy.
There is a good, proven practices recipe for rehearsals: to get the energy that
is hidden in the text, play a scene, without a word of dialogue, mychite word. L
et the partner will understand you through your actions, and you will answer the
ir mooing and actions. Say: "La-la-la, blah blah blah." Pomychite three to five
minutes, and were filled with energy dialogue scene. When the action will grow i
n a continuous chain of gestures, go back to the words and the selection of the
actions that need to stage. Think of yourself a beast or an animal that expresse

s your character.
Hissing snake against bleating sheep. Agitated chicken against a snarling lion.
It seems silly to you? Friends, we are playing. We are the children. Once we som
etimes pay for it. Those who are not a child, he was still not an actor. Everyth
ing.which helps the development of the internal energy of the scene, we throw in
to the furnace of the soul. When it comes to the shooting, you hide all unnecess
ary, and the fire will burn.
It helps stage, if you are returning to him, play them with the maximum emotiona
l content. Shout. Banging his fist, hit (but not much). Go into action any aggre
ssive punches, and you pull out all the emotions of the scene in a very rough wa
y. Reassure them worthless. Wake up and grow more complex emotions.
As a rule, fear of clichs director makes from the beginning to smooth out and hid
e emotions. But if you treat them deliberately, this nonsense can be made to wor
k in the North as kindling emotions
ously the scene. Actors happy to play this task. This, of course, a little test
for your taste, but kept all the exam.
TECHNOLOGY REHEARSALS
Then go two or three pages of boring text professional - who do not have profess
ional interests can skip it.
Well read the next chapter, we stayed in a narrow range pro, and I will admit th
at these rooms: a goat bleat, moo and grunt - good for entertaining the public.
Sometimes it helps. But regular rehearsal - serious, focused work, devoid of ext
ernal effects.
Conventional technology rehearsal routine looks like.
First day collect 2 hours of all major actors and read without stopping the scri
pt for his roles. Do not interrupt. Everyone reads their role. Do not play. Just
read. Nothing to discuss. Briefly tell us about your plans. Why and for what yo
u want to do this movie, than this movie, in your opinion, is different from all
the others.
If someone in your opinion, do not understand their role, briefly explain. A det
ailed discussion of the roles will be at the next meeting. The purpose of the fi
rst meeting - meeting and all the preparations for the 2nd day.
The second time gather for 4-5 hours. Start with a discussion of the purpose of
the characters. Everyone will tell how he understands his character. Only his. U
nprofitable when actors explain their understanding of the other characters. The
actor is useful to assume that he alone holds all the secrets of the soul of th
e character. The role - this is love, intimate affair. You need to know about th
e characters the most. to have all the answers. Do not wait for questions, let y
ourself get ready. Discuss with the objective character actors. Who wants and wh
y. Focuses on the conflicts of the character and the environment.
philosophy of nature is expressed in the most simple, standard of living: afraid
of life, he despises all around ... ... knows the value of certain of its irres
istible ...
The director here is well prepared to tell the biography of the characters. Some
come up short every tale of life - the life story that is easy to remember.
Begin rehearsal sitting at the table. Rehearse the stage. Tell about each scene
its role and importance in the film. As little as possible conversations at the
table. The more you tell the actors, the less they hear.
So you read the entire script, with stops, delving into the meaning and the psyc
hology of the characters. It will take 4-5 hours. In most cases, this happy time
of irresponsible ideas terminated. The crew usually has time for everything, ex
cept rehearsals. But when the time is, it is always good. For rehearsals before
filming enough for 4-5 days. You get plenty of fresh ideas. Of course, while you
're not sitting at the table, and a very moving about. Is it possible to afford
in the director's room, where a table, chairs and a sofa. It is important that t
he actors saw each other, met face to face.
Once Nikita Mikhalkov on the film "Player Piano" interrupted the shooting starte
d, and all the actors sat for 5 days to detailed from morning to evening rehears
als. In the afternoon rehearsing evenings ur-Raleigh football. The result is obv
ious. Knowing his energy, we can say that these 5 days would have lasted another

15.
Many directors in film do not know what to do, and one day, if they take away th
e shouts "Action!" And "Stop!". Incidentally, directors shout in Russia. Through
out assistants do.
REHEARSAL front of the stage
It connects the technical and creative challenges. It comes just before the shoo
ting. Best of the day before. If you can not, then it begins work on the scene.
The day of shooting:
1. Read the text with the actors sitting. Briefly explain the meaning of the sce
ne. Explains the motivations of the characters. Why or why he does it. How come,
where to move after the scene. Note that many forgotten script. Just you rememb
er it in detail. Keep the discussion and write down all offers.
2. If the scene suggests the emotional development of the conflict, try to play
it. Replace the word sounds. If you feel that it is necessary to wake up the emo
tions of actors, stage play rough aggressive stamps. In general, try to pull out
all of its emotional potential. Actors warmed.
3. Now begins normal operation over the stage, where the actors act in accordanc
e with the truth of life. Sometimes it is useful in the process of playing a sce
ne, changing the roles of the actors. This will enable actors to better hear his
text from, but do not dwell on it.
4. Let the actors play the scene, freely moving on the scenery or location filmi
ng. Help them to improvise on the text or on the text. The scene may swell. It's
not scary, you uzhmete it, selecting the best.
Do not believe the actors when they say that they play a more comfortable sittin
g. Very serious acting director Martin Scorsese said: "Actors have to drive." Mo
vement of the actors and the camera - an important element of the energy scene.
During rehearsals corrects actors to make comments on a course, stopping the reh
earsal for a few seconds. So go to the end.
5. Now implement its preliminary design stage settings. He certainly will be adj
usted so that was born in rehearsals. The scene gets a clear pattern.
6. When the mise en scene of the scene is set, divide the scene into pieces, it
will be removed. Rehearse precise movements frame by frame with the operator, bu
t without a camera. Suffice scooter in the hands of the operator. It identifies
all the rhythms of movement. The operator knows which technique to use.
7. A little holiday for everyone except you and the operator. Actors go to the m
ake-up and costume. You update the storyboard stage, or draw a new one. Not
Remember that all static moments require energetic installation. At least three
points for each static point: average or overall plan of the stage and two count
er large plan. The installation of the scene it is always a place.
The order of shooting may differ from the logical sequence. The scene was shot i
n areas of the world. Of course, it is better to maintain consistency.
The operator puts the camera sets the light. Filming began. All this work takes
1-2 hours, rarely 3. Just before shooting - the final technical rehearsal, where
the operator and the assistant mark out movement to within centimeters.
Once or twice drove frame with cameras and microphones. You can shoot.
REHEARSAL AND PLAN
Outwardly, always shooting for the order. No one no one argues. All are subject
to suffering and inconvenience. But this is the tip of the iceberg. You can get
from the actors or extremely little much. And it depends on your creative ambiti
ons. Not from self-conceit, and deeply thought-out plan of action.
Actors expect that you will lead them to the assault. The city will be taken, vi
llains destroyed a beautiful fall into the arms of the winners. Suddenly you ins
tead he says:
- Well, guys, let's wave your swords here and there; look, anything and conquer.
Actors in confusion. They look at you with condescending sympathy:
- The poor guy does not know himself. what he wants. We must help him. And to he
lp - it means to sit on the neck.
It's okay you do not expect. In principle, the actor wants two things: to look g
ood in the role and like director. But if one item is lame, some take the initia
tive in their hands. And then they have a lot. Their weapon is not the power and

infinite charm of talent.

American star Grace Kelly. then Princess of Monaco, a friend confessed she charm
ed Prince Rainier:
- I just left him no chance.
It does not boast. Hitchcock, who shot her many times, said:
- Grace can do with men whatever he wants. She flits between them, like a gymnas
t on a trapeze.
With women I like the Prince, no luck. But the men had a case. I chose the actor
for the lead role in the film "The Tale of wandering." One of the applicants wa
s Leonid Filatov. I almost opened it in "Crew" and, like any director, wanted to
work with him again and again. And then such a role - the hero of a fairy tale;
he did not play, but could not raise the film to the level of philosophical par
able.
Another contender - Andrei Mironov. With it would be a very different film: brig
ht, festive, juicy. I knew him for many years, but never had the role for him. A
nd then possibly can, once in a lifetime ... Now, after the early death Mironov
clear that this was an actor of the future. He had at that time to create art wh
ere it is not recognized for
Art: on-site entertainment. Now his energy remained immortal part of our lives.
But then that's just guessing.
I worked in the "serious" art and "Crew" Break on through alien territory entert
ainment. But Mironov wanted to update the usual paint. Herman began acting in th
e film "My friend Lapshin," looked at me as though the total work to be meaningf
ul. But Filatov has announced himself as the hero of the decade. A smart, sarcas
tic, ironic, with a furious inner temperament. The actor, who wasteful burn your
self on the set, playing every frame as the main thing in life, the last and dec
iding his fate. And at the same time I gave him the look-through, as if nothing
significant. For philosophical tale parable rare gift. In general, the choice is
fantastic. but not simple.
Filatov stressed kept at a distance of:
- Make a decision and let me know. I do not want to influence you. It was his po
sition throughout. He and "Crew" behaved the same way. I then chose between him
and Oleg Dal. And Filatov declined to audition for the role. Dal was already a s
tar, and Filatov has virtually no shot. Assistants cried
- You see, he is not serious about the role!
And he just did not want to get injured refusal ... I started to shoot Dahl, but
he almost immediately became ill. He had a nervous breakdown from perenagruzok.
Doctors demanded rest for two months. A movie can not stand.
And I called Filatov:
- The role of the free. She's yours.
Leonid met Dahl, found out that there is no plot, and came into the film. The da
y after the release of "Crew" Filatov popularity exploded Japanese fireworks. Th
ere was no secretary, who would not hung his portrait on the typewriter. But, of
course, serious acting achievements have come in the next film. And I really wa
nted to make him a role to the maximum of his temperament and intelligence.
In general, I was perplexed.
Mironov, probably thought: "Poor guy, I do not know what to choose. We must help
him ... "
He called me home. And he built a fantastic evening: I read the script, improvis
ed, sang, danced, transformed. In a word, he did not leave me any chance.
I have it approved. And I must say, do not regret it ever. Working with him was
a fantastically interesting. But with maniacal neotvyazchivostyu
many times after the movie, I thought: how would the film if the role played Fil
atov? And this unexpunged film seemed to me in many ways worse.
But we can not have two different solutions for any of the film or to one scene.
Make a decision for the director is the same as for the general to arrange the
troops before the battle: those in the center, on the flanks, the attack, on the
support ... and the adoption of the plan can not be changed in the battle. If y
ou are going according to plan until the end, you can win, you can lose. But if
the battle fright change plans, defeat is inevitable. If you show up with a scri

pt in the expectation that you will satiate ideas, and say, "Let's sit down and
think about what we do. in fact, we want to say, "- respect for you falls to zer
o.
The director must take into account the ideas of employees. This is an important
conIt constitutes part of the deal. But ideas are wound around the core of your per
sonal purpose. The script - that's not the plan. This paper, from which it grows
.
Three elements make up the director's concept:
1. The dramaturgic plan. As it will be told structure.
2. The idea of ??the ensemble cast. As will be played roles.
3. The visual design. As the film is told in pictures.
THEME
CONTACT STRATEGY
Do not think for a long time, which films produce the most powerful effect. This
you know from personal experience. If the film looks like a single unit when he
grabbed you from the very beginning to the very end drags where it is necessary
... If you are watching a movie and forget about everything and get important e
xperience. - Is the maximum that can give a film. That's what we are trying to a
chieve. Film, torn to pieces, assembled from bad prilazhennoy together fragments
will never achieve such a strong impression as a film with a uniform whole
form. In any case, a catharsis, you can get close, but starting a continuous hou
r and a half marathon. The story only gets emotional response of viewers when ho
oking the audience, moving them in a certain direction. Therefore, we are intere
sted in anything that helps to collect all the emotions of the film in a single
form.
There is no recipe, allowing at once, simultaneously show a deep character - suc
h a possibility does not exist in principle. There is only a process that allows
a few steps to the open nature of the core. This way of working in the structur
e, where the intuition is based on a professional basis.
To keep something under control - it is a profession. If we can confidently plan
the development of the drama in its structural basis, then let God help us to d
o it with talent.
Craft storyteller, playwright and director is to control the rough stuff, the un
derlying story. No idea soderzhashih conflict that a professional could not prop
erly develop.
The development strategy of the history subject to simple and clear rules. Stani
slavsky once asked the pilot on the Volga:
- How do you manage to hold the ship on the intricate channel, among shoals and
whirlpools?
- And I follow the course. I'm keeping the ship on the buoys.
This is the craft. You know, where is deep and where finely. But this knowledge
is incredibly frees your intuition to solve more complex problems of creativity
lie in the fairway design.
CHARACTERIZATION OF TOPICS
The topic is a special part of the structure, helping to deepen the development
of the most important ideas of the film. In all the talk about the value of the
film theme takes pride of place.
Subject - this is an extract of the most important of all, what we tell in the f
ilm. The theme - the movie is a story in human dimensions. She seemed to be elev
ated above the plot. All the same, as if we projected the film on clouds closer
to God. And there heard an abridged translation of the most important in the uni
versal language.
In view of the importance of such a representative, the theme - a favorite toy o
f all talkers. Many times I've heard talk about the topic and could not understa
nd myself as me with this theme to work in practice. Maybe we should leave it in
the lexicon of the critics? No! Topic - this is our working tool, our scalpel a
nd a steering wheel.
The theme of the film - it is something that remains in the minds of the audienc
e after the film. Not just in the mind, but not least, in the subconscious. The

viewer may not be able to explain the subject, but he got it as an emotional exp
erience. This is a real value. So, the task of topics - to establish direct cont
act between your ideas and emotional MIrum audience. The theme - an important intellectual value that you want to conve
y to the audience, to grow in their souls emotions.
That is the main problem of any topic: how to install themes and touch the audie
nce. It is clear that everything that makes such contact, is good for the film.
It is also clear that the subject can not jump out of the film on display at the
end, like a jack in the box. You grow in the body of the subject of the film, a
s the mother grows in the body of the child.
THEME AND countertheme
The audience should be the reason that she wants to watch this movie. This cause
must be contained in the story that the film tells. This reason is the theme of
the film. We do not say a word or words copyrighted characters, what is the the
me of the film. Topic viewer learns, collecting in the imagination of all the fi
lm shows. Naturally, no one in the audience would not do it otherwise. The viewe
r says simply: "I love this character, and that bastard that he spoils everythin
g I hate." This is the theme that the audience learns. To say on the subject he
verbosely. perhaps, not be able to, but in his heart Topic penetrate. If it is d
one, our task - to transform all the ideas in the emotion of the film available
to the audience.
The film reveals the theme of all the events from the beginning to the end, ever
y minute. Anything that is not the topic, useless or harmful. But we already kno
w the main axiom of the drama: "Every value in the drama turns out only through
conflict ''. This also applies to the topic. Therefore, the topic is always evol
ving in the conflict.
In fact, the "theme" in the drama - the two things linked together. One - the th
eme, the other - countertheme. They are constantly fighting in the conflict from
the beginning to the end of the film.
When I was a kid on Christmas fur-trees it was a room - a struggle between two N
anai boys. Two baby in fur coats fought will cut each other down. I won one and
then the other. At the end of one boy with great difficulty I lifted the other i
n the air ... Now he will throw it on the floor ... but coat subsided, and it tu
rned out that two boys - it's one person. Theme and countertheme fighting in the
film, as the two boys Nanai. They have until the end of intertwined and can not
beat the other one
ha. Only at the very end to find out who won. Winner - a topic defeated - counte
rtheme.
Stanislavsky first realized that the struggle countertheme theme and to be found
in any dramatic work.
At first it looks difficult, but, as he said Stanislavski, "progressively harder
it will become clear, beautiful and friendly."
The director is obliged to build the drama so that the subject and countertheme
continuously struggled. And until the end of the audience it was not clear who w
ould win. We examine this development the simplest example. How protivoborstvuya
the conflict theme and help activate countertheme spectator interest? Let's say
the criminals have committed the offense well conceived - robbed the bank. They
are impossible to calculate and catch. The audience thinks, damn, what a cool c
rime. It is necessary to do something like that. It countertheme - currently she
won.
But then the police calculate and catch criminals. The audience thinks:
No crime is not justified. This theme - she won in the conflict.
And suddenly a criminal, jailed, escapes. He is on the loose with a bunch of mon
ey, which previously hid. The audience thinks is still a crime worth it. It coun
tertheme, she again won the topic.
But the detective, overcome a lot of difficulties, again the offender. and the a
udience say, no, crime is not worth it. This theme - now she won.
Team gangster beats chief culprit. The culprit again happy and rich, and the aud
ience are thinking about the crime is worth it!
But the police again the offender ... And so the scene behind the scenes and alt

ernate fighting two ideas:

1. Crime is worth it.
2. The crime is not worth it.
One scene expresses the theme, and the other - kontrtemu. Together they are the
subject of the film. It's like a dispute between two ideas that develop the stor
y and provide the viewer's attention. In this case, the actions of the character
s manages the idea to show that crime does not pay. But this idea never speaks w
ords - none of the characters, of course, does not talk to the screen: "Do not c
ommit criminal acts - it's not worth it." The characters are fighting, and the i
dea becomes clear in the course of their struggle, then it learns the viewer emo
tionally and subconsciously. This idea, which governs the actions of the charact
ers in conflict, called the management idea.
Management idea - this is part of the topic, which will win in the final, and co
untertheme - the second part of the management ideas, which will be broken. But
at the very end. And before that seems invincible. When countertheme until the e
nd seems stronger than the theme, the audience follows the story with the greate
st interest, because they really want to beat theme. If we see that criminals ar
e clever, cunning, strong, agile, we understand that the police inspector had ne
ver gets to them. But he still got! It happened in the finals, when the topic is
almost trampled countertheme defeats and triumphs. So, we do not needlessly gav
e their sympathy to the hero. And then contrast themes and countertheme be so st
rong that everyone learns as its theme the experience of emotional distress.
Now you understand why the regulations require that evil was You are a
razheno antagonist in vivo and not in abstract symbols, natural phenomenon, or a
generalized evil. Fighting two live characters always looks brighter unpredicta
ble. This topic is struggling with countertheme.
Wrong certain topic can distort, warp or ruin all the work. That is what happene
'epidemic' of which we speak. At first glance, it seeme
d in the history of film
d natural that the antagonist in the script should be virus-killer, a ruthless,
terrible, implacable enemy. It goes without saying that the subject should be th
e struggle of man the virus-killer. But the virus, compared to a man-killer, a s
mall repertoire of behavior. The virus kills only. A man, an enemy can use cunni
ng, to pretend, to intrigue, combined with various menacing forces. Therefore, t
he theme of the film occurred in the fight good guy to bad guy.
The antagonist has become old, never feed the "bad guy", the general, played by
Donald Sutherland.
Nice guy, Dustin Hoffman Colonel wants to destroy the virus, and the bad guy - G
eneral Donald Sutherland. He wants to keep the virus as a weapon of bacteriologi
cal warfare. For this he is ready to kill
good guy and destroy the entire city is infected. Step by step the fight against
killer virus is regarded as the development of the conflict.
The colonel is looking for antivirus - this topic. General it has, but hides lik
e a secret weapon - a countertheme.
The virus is spreading rapidly, and the military forced open secret antivirus th
at will help eliminate the epidemic. is the theme. But it is too late: the virus
has changed, it is uncontrollable, and indestructible, and the general wants to
destroy the entire city with the new virus is a countertheme.
And the colonel wants to save people, he seeks and finds a new anti-virus - this
theme.
Then the general is trying to destroy the colonel to keep a secret biological we
apons. - It countertheme.
But the colonel is saved in a matter of seconds to complete disaster saves human
ity from apocalyptic catastrophe - this theme.
Until the last minute, General seems invincible. He urged the US president to lo
se the city Super bomb. Huge plane brings death the city - it countertheme.
What can one colonel against the entire might of the army? It's nothing.But at t
he last moment, he wins. show maximum courage, will and mind.
Topic - this is what wins kontrtemu that seems much stronger. This is also one o
f the rules, "a well-told story." Theme is a David countertheme - a Goliath. He
seems invincible. But David whirled a sling and a stone flying into the goal.

THEME AND MANAGEMENT IDEA

The stories always have to work two ideas. and they are at war with each other.
The theme can be called managing contradiction. Because the theme - is a continu
ous, from the beginning to the end of the film, the struggle of two opposing ide
as.
It is this need to fight two ideas in each formulated Stanislavsky drama - the d
rama of each is continually evolving collective action through. He's struggling
and he is opposed to the through resistance. All the characters of the drama are
combined into two groups. During the struggle between the two groups followed t
he viewer. Through the action - it's something. that unites all the protagonists
. Front and opposition - something. that brings together all the antagonists. Th
rough the action - a practical, constantly and consistent execution threads.
Hamlet is seeking justice in the world of evil. Its theme - Justice must triumph
over evil. But the evil - the king, the queen, the court, friends traitors figh
t with Hamlet. They more they triumph. They are stronger. As long as Hamlet puts
everything at stake and, throwing doubt take up the sword of vengeance. Subject
: justice in this world can only be achieved at the cost of life. Survived "to b
e or not to be" over the skull pomudrstvoval poor Yorick, I became convinced of
the guilt of the king, suffer the death of his girlfriend. Now is the hour of tr
uth. We must "be"! And "to be" to the end!
Whatever you call it strategic confrontation - topic and countertheme managing t
he conflict, through action and through resistance, - is something that should b
e developed in a drama from beginning to end. And this development provides the
interest of the audience.
Theme and countertheme always created in the chain of dramatic twists and turns
of history, that they turn ideas into emotions, and we know that it activates th
e interest of the audience.
"The Cherry Orchard." Ranevskaya returned to the estate. She is happy, but we re
cognize that it is impoverished and has no chance to escape. All perish if the e
state will be sold for the debts, - it is subject.
LOPAKHIN offers rescue plan - cut down the cherry orchard. Is there salvation fr
om poverty? Yes!Cut down their past, destroy its roots. It countertheme.
No, Ranevskaya rejects this way. All die? Not at all. Guys offers a different wa
y of salvation. Anya believes in it, she is happy, it seems, can escape - is the
theme.
Day approaching sale of the estate. LOPAKHIN recalls persuaded to accept his pla
n of salvation. But no one wants to listen to his advice. It countertheme.
Looming disaster. Ranevskaya full of other worries, she does not want to decide
anything, do not want to ruin anything, let things go by itself - it is a theme.
In the midst of mindless fun in the manor appears drunk LOPAKHIN. He triumphs an
d sobs of grief. He bought the cherry orchard is a countertheme its gloomy trium
ph.
There comes a bleak autumn morning. Characters like the living dead leaving the
cherry orchard. In their eyes, it is murder - the trees are cut. This is a topic
. And the winner LOPAKHIN same dead as he defeated former owners. He killed not
only the garden, he killed the only thing that shone in his soul - love for Rane
vskaya, her family and the garden of his childhood. Death reigned in the carved
garden.
This is a very concise and easy because the analysis. But the principle is clear
. The control conflict develops in a continuous conflict themes and countertheme
. The development of this conflict, and there is a story behind which the audien
ce watches with excitement.
THEME AND through action
The development of history as a subject and struggle countertheme existed long b
efore the drama of Stanislavsky. He just guessed and formulated the main core of
any dramatic history.
And he began to insist that in the beginning of every performance was analyzed a
ctions that reveal the struggle through action and through opposition, expressin
g particular theme. This struggle - a specific tool that detects the subject in
the movie.

Through action unites all the simple actions of the characters -raskryvayuschie
theme. With him constantly struggling through opposition - reveals kontrtemu.
Thus, intelligent conversations about the subject are practical guidance. Based
on the theme, you define what the actors have to do every minute.
Difficult, difficult concepts consistently and steadily penetrate into the soul
of the audience as a personal experience of. It does not simplify the difficult
things, is their transformation into a living energy of emotions. This is the pu
rpose of storytelling - pack ideas into emotions that slowly and steadily grow i
n the soul of every viewer and a half hours, while he watches the film.
The genius of Stanislavski found a universal way to this goal - to develop a the
me as a continuous struggle through action and through opposition.
The theme of the film "One Flew Over the Cuckoo's Nest" - the struggle of freedo
m and totalitarianism. But the action does not take place on the battlefield, bu
t in a small psychiatric hospital.
The hero, Mack Murphy, does not look dissident and fighter for universal freedom
. At the very beginning of the movie he wants freedom is not an abstract, but ju
st watch your favorite game on TV. So begins the theme - as a simple desire clea
r to the common man.
A nurse has the authority and prohibits. So begins countertheme. Mack Murphy ful
filled all the conditions nurse. Now he has the right to watch the game. But the
nurse turned on the TV. While countertheme wins easily.
Then Mack Murphy won freedom in the other, he hijacked a bus with the sick and m
akes a delightful boat trip head physician - topic wins.
On this nurse and chief doctor said cruel "medical" procedure - electroshock. co
untertheme wins.
But it did not break Mack Murphy. He planned to escape and gave a farewell celeb
ration in the nuthouse, general fun night. It ended tragically. A friend Mack Mu
rphy committed suicide, and most Mac Murphy lobotomy turned into an idiot. count
ertheme won? No!
The baton Mack Murphy took his friend - Indian. He escaped into the wild, and di
d what he wanted Mack Murphy. Subject won.
The idea of ??the struggle for freedom turned into a set of simple and clear all
the action-reaction, expressing the struggle theme-countertheme. The developmen
t of this fight takes place in an unbroken chain of conflicts. Each subsequent e
motional previous. And in the final, we are fully involved in the fight on the s
ide of the heroes of Mac Murphy. At the same time, we never for a moment digress
from the topic.
When Stanislavsky first made the fight countertheme themes and action in the con
flict-pritivodeystviya their working tool, viewers were shocked. They were able
to guess the actions of the actors complex and subtle nuances.
On stage blossomed treasures of truth. And at the heart of technological lay bla
nk, single for all occasions. Not a paradox?
Everyone knows how Stanislavsky was intolerant to the dies acting performance. H
is famous "I do not believe it!" Has become the talk of the demands of the artis
t.
But it was the final stage of work. It was preceded by the construction of the b
asement, where the genius of directing sought simple and powerful collision of t
wo opposing lines - through action and reaction. Always the same - a constructiv
e rod.
Continuous struggle through action and reaction is the generator of energy of an
y play or movie.
Shakespeare knew this energy source long before Stanislavsky.
Romeo loved Juliet, without thinking about what it is from the family of enemies
- this is the theme.
Tybalt Romeo family discovered the enemy at the ball. Romeo danger - it countert
heme.
But Romeo, ignoring the danger, Juliet sneaks into the garden and heard her conf
ession of love for him. Lovers happy - this is the theme.
In the morning a happy Romeo loses a friend Mercutio and kills his brother in a
duel Juliet Tybalt - it countertheme.

Romeo in despair. Juliet is also desperate. But the monk Lorenzo makes love, he
secretly crowns them. They are happy - it is a theme.
Romeo leaves the city in the morning. And Juliet expects a new blow - it will be
given in marriage to Count Paris, such is the custom and law. It countertheme t
hreatening character.
Friar Lorenzo again saves Juliet - he gives her a false poison which at night tu
rns it into something like a corpse, but when Juliet wakes up, she will be happy
with Romeo. Romeo does not know about it. He kills himself to "corpse" Juliet.
I am countertheme won topic?
No, I awakened from the action of the drug, Juliet proves that there is nothing
stronger than love. Even if it is necessary to die. Juliet will eternally in the
arms of her beloved husband - she commits suicide, and it is a victory over the
threads countertheme which before seemed invincible and powerful.
As you can see, the theme is developed only in the actions of the characters, it
helps us to build out various actions through action.
BE ON THE VERGE OF CATASTROPHE
We are interested in the fact that the actions of the characters were very activ
e. This happens when they face counteractions antagonists. Through action-reacti
on helps the hero to be always on the brink of disaster. If the drama is not the
constant threat of the collapse, there will be active through activities to dev
elop the theme.
It should look like a chain of catastrophes. In the drama of all rests on the ac
tions of the characters. They need to build, with theme-countertheme strategy. A
ctions between heaven and hell of the soul - the field of the strategy.
Overcome obstacles that can destroy everything. In this sense-through. Actions a
ntagonists combined into a through counteractions - that is what leads to the cl
imax of the drama.
Look for given circumstances that prevent the heroes. The class is determined by
the direction. up to a maximum limit to the logic of the proposed circumstances
will be reported.
As soon as Romeo and Juliet joined in loving bliss as the town square there was
a fight with a double murder. The situation is hopeless.
Just lovers got married for life, as the father of Juliet announced that it is w
aiting for her husband - Count Paris. The situation is absolutely desperate.
Ranevskaya in "The Cherry Orchard" in the beginning announced that lyubovnickname finished in Paris. She had taken the decision to sell the garden, but h
er lover bombs telegrams - it is sick, he needs Ranevskaya. He is an invisible s
pider weaves around Ranevskaya chain-wide web closer and closer. It interweaves
the theme - a past life that Ranevskaya can not cut down, it can not cut down th
e cherry orchard. "It is a stone around his neck. But I love this stone "- in de
spair recognized Ranevskaya. She dies, understanding the hopelessness of their o
wn destiny.
If your theme does not contain the conflict is not a member of two warring parts
, it will not turn any of the drama in the script or in the film. Therefore, fro
m the beginning think of the conflict, which will grow and be approved by the to
pic of your movie. Within this development theme can be updated and changed. But
without the conflict theme is dead.
It is surprising that determine what exactly you want to say, is not easy. You f
eel - that's what you like. It's your world! Your heroes! Your thoughts about li
fe! Why is it so difficult to identify the topic? ..
Great writer Arthur Miller once wrote; "When I finally understand what I actuall
y want to say, I stop and write it on a separate piece of paper. It is the most
important point. On this day, I do not write anything. This is a holiday. Such a
master, and to understand the theme of his play does not come immediately.
However, the topic should definitely articulate. We need to find the precise wor
ding for intuitive working processes. We work with
a team of diverse talents. They have to write the role, giving the task, they sh
ould be sharpened towards a common goal.
Topic - this is such a sharpening. It centers are a variety of efforts. Topic this is an important part of your strategy.

How many times have I heard from different editors: "First, determine a theme, t
hen write." In principle, correct. But in fact, the path to your topic is not si
mple and short. Identify the topic - it's like to score a peg in a meadow, a goa
t tied to a peg and let it consume the grass around the peg. I think let the goa
t first run on the meadow. Where it will find the most lush grass out there and
score a peg theme. While the goat runs itself, we rewrite options.
We know that Leo Tolstoy many times each page copied. One of the pages of "War a
nd Peace" (it is conclusively confirmed drafts) rewritten 104 times. This is a r
ecord for the Guinness Book. I think, that sought a genius? Probably, in order t
o develop the author's idea is completely dissolved in a diverse breath of life.
He wrote in this regard: "The critic in one phrase all the ideas formulated my
novel. And me to formulate these ideas need to write the whole novel. It's all e
ntirely my idea. "
I do not quote just remember for a long time sunk into memory word.
Chekhov also liked to explain his intentions. When Stanislavski tried to get an
explanation from him, Chekhov sheepishly replied:
- Everything is written.
But we are on the side of Stanislavsky. We need to understand ourselves and othe
rs to explain as much as possible to penetrate deeper into the essence of life p
rocesses. And identify the topic carefully, without breaking the fine structure
of life. Best of all, when the topic as it gets itself into the consciousness of
the audience in all the colors of life. Conversely, very bad when you
you must pay attention to the audience on the topic of the actions of the charac
ters are not in conflict, and the words of the characters, as was done in the ol
d plays:
"And poselyanki feel able to."
"Honest Poverty is better than unjustly acquired wealth."
TOPIC - COMPASS FILM
The theme and its development in the structure - is a process of discovery. This
is your full creative and not rational squeeze. Subject can grow to change, but
it must necessarily appear in your mind as something clear and conflict.
It defines all of your priorities. It illuminates the path from which you will n
ot be able to roll determines your decisions, which are sometimes necessary in t
he most unexpected circumstances.
For many years I was friends with Vladimir Vysotsky. There have been 70 years, w
hile Russia knew him only as a singer, furiously rattling on countless magnetic
tapes. I wanted to show Vysotsky's the way it was when few knew: an intellectual
, poet, vulnerable and gentle man. So with that desire was born the idea of ??th
e film "Negro of Peter the Great", then this film editors names
Does "How Tsar Peter Moor married" to look ridiculous and harmless. The theme of
the film was a love of Russian poet and king. How different they love their hom
eland. One - forcing all and submit to his will, the other - a free soul.
For this topic, it does not matter was that Ibrahim Hannibal was Ethiopia. For a
ll of us he was the ancestor of Pushkin - great Russian poet and Libertarian.
This film had learned French producer Moscovici. He was friends with the actors
"Contemporary", my friends. Once he asked me what I was doing, heard and caught
fire:
- I'll give the Americans in the film! A month later he calls excited:
- Americans like! Harry Belafonte will play a major role. You fell from happines
s? I say:
- No, this role was written for Vysotsky.
But he did not seem to hear. I managed to spend a lot of money. It's no joke: ge
t the consent of the Belafonte. He arrives in Moscow joyful. I say:
- Discussed everything but the role Moor. Because the theme of the film, "the po
et and the king", not "Russian and Ethiopian." He said to me:
-you're An idiot! You moron provincial! You know who you are and who Harry Belaf
onte?
Then there was the peak of his world-wide fame.
- Do you realize that the film with the actor to change your whole life? Decide
now!

I say:
This decision will distort the whole topic of the film. I want to show Russian p
oet Vladimir Vysotsky in this role. He's in the lead role - this is the theme of
the film.
Moscovici is enraged:
- Yes Sun you in the ass his subject and his poet! You have a chance to get out
of your crap! The other can not be.
- Then we have to write another script.
- Well, write! Belafonte's worth it. He liked the way you write. I thought, cons
ulted with friends and colleagues Dunskiy and Freedom and say:
- No.I can not. He moans:
- Oh! The country of cretins! I have already spent 300,000 francs on this ventur
e! In Paris, they will not believe, if I tell you that the director does not wan
t Belafonte.
But the theme been building an ensemble cast with Vysotsky and Petrenko starring
. It could not be changed.
Moscovici cursed me. And many years later he recalled this story as an example o
f "Russian idiocy."
Now I think: maybe he was right? I have not changed my destiny. Authorities allo
wed to shoot the film, but then battered him so badly that turned out to be a lo
t of important disemboweled. I remain in memory for only a year of happiness, wh
en there was work.
But when the film was released, the audience loved it. He is not forgotten.
This case I cited the fact that the presence of a clearly defined theme helps yo
u determine the most unforeseen circumstances.
Topic - this is why, why, and for whom you are making your movie.
Poet Slutsky once met me on the subway.
- What are you doing?
- The film was shot.
- Against what your film?
Very good question. The theme - it is "against which the film."
If you do not have an answer? If you only love, kindness, gentleness,
God give you good luck and success. But how ironic Anatole France said:
"The real art is being done with good intentions." It must be an active attitude
towards life hell.
In a true artist in every subject there is furious about the evils of the world.
"I call death, I see the unbearable dignity begging, sneering at the truth lies,
Insignificance in gorgeous clothing ..."
It remembered the Shakespeare. Your rage and despair may be hidden very deeply.
But if they are. they happen and guess.
The subject should give a concrete idea of ??what is a paradise. and that hell i
n the microcosm of your movie. The topic is your view of things between heaven a
nd hell. To do this, use your loaf and something to write with his blood.
About Andrei Platonov told: during the war, the writers receive additional food
coupons, and Platonov, a member of the Writers' Union, who worked as a janitor i
n the dispensation, was once in line to take home a pot of soup, a bowl of porri
dge and cutlets. And any writer more successful in acquiring good things of life
, wanting to show their democratic turned to Platonov with the phrase:
- We, writers ...
- No, my friend, you do not me to be equal to, - said Platonov. - Do you write w
ith ink and I blood.
You could say that the theme - it is your blood in the film. You shoot a philoso
phical drama or a fun comedy burlesque entertainment, film-action or poetic narr
ative of childhood - the theme always determines your level of ambition in art.
The audience will feel it. Even Leo Tolstoy said, "Art without a serious moral p
roblem is the empty self-indulgence, if not worse." The task of entertaining the
audience-not a serious alternative attitude to life.
Quite different theme arises in the minds of viewers. It is born not as an intel
lectual experience. No one in the audience will think: what topic this film? Ask
viewers who cried and experienced events of the film: what topic are you crying

? What subject you

excited? They are confused and unable to formulate a response. They knew that. t
hat the audience did not have learned the subject? They learned it! Just do Raum
a, and feelings, soul. Topic - this is their emotional experience. I learned fro
m the movie. This I love! And I hate you! "- That mean for the viewer and counte
rtheme topic. Geniuses and intellectuals find something a little more complicate
d, but in the heart of each island will leave emotional threads scratch. All eff
orts are concentrated on the drama of this island and if your soul is not ossifi
ed, scratch would be bleeding sweet happiness and sorrow of knowing. Why is that
?Life becomes richer, brighter colors, sounds better to communicate with art, wh
en there is a significant history theme. You spend the emotions and got emotiona
l experience.
THEME AND supertask
The most important task of each character defines what this character really wan
ts to make all actions to establish the theme of the film.
Man intriguing works hard, dedicated, kills to become the boss. What he really w
ants? To recognize his abilities? Or he wants power? Or he needs something to so
meone to prove? Get Rich? Destroy the enemy? In the drama you have to choose jus
t one thing.
The most important task consists of simple tasks. The general sense of elucidate
changes only in the end. The most important task - it is a working tool, which w
e are planning the introduction of themes in the film.
Each task is detected in action only in action, rather than words.
Actions - This particles that make up the drama. They are combined into a throug
h action. From beginning to end, through the action of the drama facing the thro
ugh resistance. So we are developing conflicts.
But every action has a problem. All small task, forcing the characters to act un
ited the most important task. Each character in the drama, there is one importan
t task of dominating. It subordinates all other tasks. And the drama itself also
has to be the most important task - it opens up the audience that we want to kn
ow our story. What do we achieve? What the final effect in the audience want to
achieve?
The most important task forces us to choose action and locale. It determines the
choice of actors, cameramen, artists, composers.
One director Romeo handsome as a god, moves like a dancer in the ballet, dressed
in Versace suits. Each frame can be printed in the calendar with advertising je
welry.
And another director Romeo messy, says as a teenager from the suburbs, in the mo
vements of the slip judo, the kung-fu.
One director is accompanied by presentation of the music of Mozart and Bach. oth
er books by contemporary composers pop songs, the music accompanies the action o
f the rock band, he invents characters couplets in the style of "rapping". All t
he elements that make up two different super-task.
One staging light, airy and beautiful, as the performance of the top models on t
he catwalk.
The other occurs among all quarrels, fights, dances in the doorways or on the ni
ghtly get-togethers. Who are the directors of the rights? Both.
One says: "My most important task - to show the beauty of heavenly love. This et
ernal passion, ennobling souls. This tale, which everyone dreams. I want to. peo
ple wept with unearthly beauty, which lies in our feelings. "
The other director said: "Romeo lived poltyschi years ago. But today his feeling
s alive, as if he was born only 15 years ago. That's what I want to express. To
the audience feel that they live today, the same power of love that made suffer
and be happy their peers in antiquity. Eternal feeling alive today. Here is my m
ost important task. "
The most important task should be formulated clearly, clear and understandable t
o employees. Forget capricious sighs: Ah, I can feel it, but I can not express i
n words! Employees should be encouraged by the idea, and how they understand the
ir part of the problem, if the director is crawling on scenarios
tory as bug the wallpaper without seeing its prospects, not knowing the course,

which he leads his ship.

The operator offers the frame, the director says, "It's too grounding, there is
no magic, no fabulousness. Let us look for a place. which would remind everyone
of his children a happy dream. Trees, like sleeping beauty of the forest, houses
, reminiscent of Cinderella Castle. And in the sky, huge cumulus clouds, perfect
as the heavenly castles happiness. I want before the start of how Romeo would s
ay the first word, all the spectators have plunged into the magical atmosphere o
f legend. Let them think that they sleep and see the most beautiful in my life d
ream. "
Another filmmaker chooses frame - he was unhappy with the fact that he proposed
statement: "It is a tale, not life. Let us find a place on the background smoke
plants are carried by trailers from the ground pulled the steam from a heating p
lant, on the ropes dried multicolored underwear and windows mangy buildings hear
snatches of rock music, swearing and laughing. I want to show. that eternal lov
e lives everywhere and always, the dirtier is around, the more diamonds will spa
rkle love. Nataschili more debris. Bring two machines mud. Pour a puddle of oil
and light them. We'll show a paradise that is born in hell. This is our life! "
As you can see, the most important task is related to the philosophy, with the v
iew of the task of art in our world. Naturally, developing your mind in a half h
our, you can not succeed without the structure of super-task.
Thousands of filmmakers put "Romeo and Juliet" and "The Cherry Orchard" - and th
ousands more put. Why is everyone in the play something new? Words that are the
same. Because the word - it is a small part. The main thing - this is what is gu
essed. It is as real as the words. It is contained in the structures. Text - thi
s is only a pass to free creativity. There is not a man who would cry while read
ing "Romeo and Juliet." It would be unnatural. But millions cry. when watching a
movie.
Sometimes there is a theme in the vision of the director, so that only one parti
cular actor can realize the most important task, which identifies the subject.
So it was with the original intent of Eldar Ryazanov remove poet Yevtushenko in
the role of the poet Cyrano in "Cyrano de Bergerac." The most important task ' th
erefore play a Poet "best identifies the subject ever persecuted poet. Everythin
g was ready to shoot, and suddenly demanded that the authorities remove Yevtushe
nko with the role. And Ryazanov closed picture.
This desperate step is understandable, bearing in mind as the theme appears in t
he imagination of the director. This particular chain inseparable action-reactio
n that will be born in your vision of the film. Sometimes compromise is impossib
le.
All three of these terms:
- Topic
- The most important task
- Through the action - are mutually exclusive. They work together.
Their work is one meaning - to develop action in a continuous dramatic tension.
It is controlled by the working terms - they are part of your structure.
The structure contains specific elements for constructing the film. It is our in
ternal affair. This manure, which grow the flowers of art. It would be ridiculou
s and strange to see a critic who would be rubbed in the fingers and sniffed our
manure. Their job - to smell the flowers and to assess the subtle and complex f
lavors, and our job - to grow flowers.
The structure as a strategy for each of the film consists of elements, which tog
ether constitute a single form. The structure offers the audience precisely thos
e matters about which they have experience. Proper structure - all the experienc
es are arranged in an orderly chain, leading viewers to catharsis. No structure
- in the hearts of the audience arises chaos, some emotions will be put out the
other, and everything will sink in a welter.
PART FIVE. ENERGY ITEMS
ENERGY ITEMS
First, let us recall some of the great parts.
Desdemona's handkerchief - a small square of cambric in the hands of Othello. Th
is gleaming white cloth - one of the protagonists. For several centuries it spin

s the flywheel of the emotions of one of the great dramas of love.

Dancing bun in the hands of Charlie Chaplin or fried nails that sucking it with
hunger. Who saw them, never forget.
Do you remember the tragic hug a nurse and an officer of the trench in the "Ivan
's Childhood" Tarkovsky. We see lovers as if from the grave. This trench-tomb the same item, the item metaphor.
Small medallion around his neck cat - it is hidden an entire galaxy - "Men in Bl
ack" Harry Zonenfelda; or a huge truck-killer without a driver in "Duel" Spielbe
rg - parts of different sizes, as a creature in the animal kingdom from the flea
to the elephant.
Nez flush doctor in "Battleship" Potemkin "glasses killed Engineer" Chinatown "o
r a machine gun in a case of guitar in" Desperado "- the details are simple or e
ccentric as people.
The Ark with the precepts of Moses in "the Lost Ark" - a unique piece. And an in
finite number of suitcases with money or drugs, bags with diamonds, sheriff star
s, keys, cigarette lighters - are common as people in the crowd. But there are d
etails of star - like lighter in Hitchcock "north of the northwest."
Thousands and thousands and thousands of parts in the films give rise to laughte
r, tears and terror. And there are rules by which they do this best. We consider
them.
In my youth I was taught that art from the very big "and" lies in the subtext of
artistic dialogues. Dialogue - it is something that can write not everyone. Oh,
Chekhov! Oh, Bunin! Wah-wah, Hemingway. But the best films have no dialogue. Th
is is a classic silent film. And in the most primitive "blah blah blah" does not
stop even for a moment - a TV series.
Two girls talking in class, nonstop for five hours,
go together out of school, not stopped for a minute and say goodbye with the wor
ds: "Hurry home run and call me!" That's what dialogue. He is cast out of the wo
man's inexhaustible fountain of life. Come up with him sitting at the table - no
problem. And think of a good item! Oh-ho-ho as it is not easy.
Such, for example, like a flute in the hands of Hamlet. Remember, he says childh
ood friends Rosencrantz and Guildenstern:
- Play friends, the flute!
- We can not.
- Yes, it's simple. Here, blow, here and pinch.
- Do not know how.
- Why?
- Not studied.
- Yeah, on a wooden fife can not. And I think you can play?
Can you imagine this scene without flute. Hamlet: "Blah blah blah ..." -and thos
e bastards, "Blah, blah, blah ..." details enhance the effect of words.
We watch a lot of movies where no doubt honed dialogues translated inaccurate an
d not very competent translators day laborers. So what?Many of these films are l
osing? The main thing that pierces us - is action, not words. The main thing - t
hat we see and not what you hear.
Detail in the film - an instrument of action hero. A dialogue may be different,
if the film gets a little better, or primitive - the film a little bit worse. Bu
t that is not determined by its energy and class.
Remember Tarantino in 'Pulp Fiction' novel about a watch that my father a hero s
ix years hid in the ass by the Vietnamese Communists in the POW camp? First, thi
s detail is presented in a long monologue, and later in her life comes a complic
ation - girlfriend forget those hours in the house where the hero faces death. A
nd after coming 3 act - disaster. Bruce Willis, risking their lives, are these h
ours. And he sees, by the way, another detail - the forgotten killer machine. It
kills the killer, takes hours. Details turns, can play as the characters. And t
hat's not all they are.
Details - this huge community. A country where there are millionaires and beggar
s, heroes and traitors, aristocrats and murderers. If you handle them properly they are a powerful weapon a professional, your pocket bomb.
The film - a special formula for the creation of life experience within about tw

o hours of continuous attention. If any part of the movie is boring, viewers are
losing faith in the authenticity of what is happening. Details have the ability
to involve the audience in the event. They are doing everything that happens mo
re convincing.
It seems that the details - it's just part of the design of the film, his clothe
s. No details contribute to the development of history. They help the audience t
o jump into the characters. If a lot of details, but there is no history, this i
s similar to as if the director is in place on the catwalk and supermodel holdin
g a hanger from which hang glittering rags of self-expression - details without
history.
If the action is devoid of details, you lurks another danger. All the problems o
f the heroes of the final word. Instead, the visual appearance of the events we
see talking heads. This is how the TV. But a movie using components may get more
emotion from the audience - no wonder they say: better to see once than hear a
hundred times.
You see small objects on the screen - watch, diamond ring, increased hundreds of
times - about the size of the Kremlin clock. None of the jeweler will not be lo
oking at her diamonds under such an increase, which gives details of the movie s
creen. Millions of viewers inspect the quality and credibility of the details. I
t is useful to look at,
how to apply them in the film to get a maximum of the parts that they can provid
e.
The very notion of detail is quite capacious and multi-valued.
1. Item - it's part of the whole. Detail - a defined size of the plan to install
, is the largest, larger closeup. Eye - detail of the face. Lips. ear - all thes
e details if shown in full screen.
2. But the detail - it is also a part for the whole.
We show an arm or leg, and this part to understand what makes a character who he
is. The item represents the character in the installation.
The "Battleship" Potemkin "pince-nez, which is caught, swinging on the railing,
tells us that the insurgent sailors thrown overboard doctor who allowed to feed
them wormy meat.
3. Detail - this is the subject.
As a rule, all items that are involved in the shooting, we call the "details", a
ll inanimate - the details. And the subject has all the qualities mentioned abov
e. But there is another definition of the details.
4. A significant, well-tanned character of the behavior we call detail - detail
of behavior.
Details - this is what we see on the screen. They are important texture, visual
persuasiveness, it's part of finishing the film. But it is important and what is
expressed in the details of your personal, your uniqueness. The choice of parts
- it is your unique personality in the film.
When you work on a film, one major effect, combining all the rule: you have to k
now the world of your movie in full detail how the Lord is God. It is this knowl
edge determines the choice of original, unusual, fresh details, ie details. With
out this knowledge, you are doomed to clichs and stereotypes in the finishing of
the movie.
In detail, at first glance, are the regulation, contrary to those that define th
e structure.
Structure - this versatile craft. Details - This is the personal world.
But looking more closely to the world of details, we find rules that help to ide
ntify your originality.
Each frame of the film is filled with details. How to emphasize the most importa
nt? In the details should be its place in the history of the development. It is
useful to treat them as partners actors. Since the details - a wordless and moti
onless partners, especially the need to follow the logic of their inclusion in t
he action.
THREE AND LOGIC DETAILS
When shooting the film, we usually work in three logics:
1. casual logic

2. dialectical logic,
3. antilogika.
Casual logic - the logic of causality. Every action must have its cause and caus
e the next action.
Because I'm tired, I fell asleep. Because I slept, I woke up refreshed and hungr
y. Because I'm hungry, I ate. Because I'm sick, I can work. Because accumulated,
he works up an appetite. Because hungry, eat again. Because it had enough, I wa
nt a woman.
The simple ritual of animal life is simple biological reasons casual logic.
But the complex world of the spiritual life also has its reasons. As a rule, the
se reasons are many, they are, overlapping, some implicit, others hidden in the
subconscious, confused.
The system gave the Stanislavsky method of how to identify the main reasons and
out of them a clear unbreakable chain of behavior in conflicts. Stanislavski mad
e the key visible effect. From action to action in a complex behavior is depicte
d by a visual links of the chain. They are always built on the principle of caus
ality kazualov
tion logic. Therefore, the actors and the audience can navigate the incredibly d
ifficult situations. The visual clarity of action of actors allows the fire flar
e up emotions of viewers.
The first task of the Hamburg film school, which is produced by the students - a
five-minute film without words, a complete story, three-act conflict and the de
velopment of characters in dramatic situations with dramatic ups and downs in th
e development of the conflict. Details are essential to this story, and in large
quantities.
Janek
Girlfriend exemplary young policeman every morning requires proof of love. In th
e end, the guy is late for the service. The chief swears colleagues unhappy.
The guy decides to stand up before the alarm clock will wake girlfriend. But the
girl trickier: it is no longer asleep, sweet kisses ... and the guy is late aga
in. At the head of yelling at him, so that the glass doors burst.
The next morning, the boy manages to get up quietly without waking favorite. But
she outwitted him - in advance donned his trousers. He's trying to remove them,
the fight goes into hugs and kisses, the guy is excited, it seems, he was again
late for the service. But no! He grabs a gun and - bang-bang-bang! - Kills girl
friend passionate. The conflict of love and duty are allowed to tragic disaster.
Note that every moment in the history of working parts. The plot absorbs them, w
e do not notice them, and this is a natural development of the visual history, w
hich give clear details of all the rapid twists action.
In the story the story of a casual (usually worldly) logic, the story moves sequ
entially from cause to effect, from effect to cause. Step development, in which
we get a unit of information is the bit. The story is told from bit to bit. And
every bit of the story with the help of some parts become visually concrete and
convincing.
Details - is the basis of clarity of the story. It concentrates mainly on each b
it.
Police awoke - saw the clock.
He wants to get up, but a girlfriend dragged him under the sheet, and they made
??love.
Police quickly brushing teeth, shaving, checks - pants on it? trousers on the ch
air? No pants on the girl. He tries to take them ...
in the end the lovers make love again. Therefore, the police chief of late and s
creaming so that the glass breaks ...
The whole story is made up of small bits, where each detail is concentrated esse
nce of the conflict bit.
Here we come to the main thing, what are the details in the dramatic story - the
y aggravate the conflicts of the characters.
Joining the action items behave like little full characters. They get a short st
ory in three steps: exposure - development - the culmination. This allows us to
highlight the details of the plot of the abundance of objects in each frame.

Working with the details - economical and efficient way to increase the visual q
uality of the film, stressing the logical development of the action.
Holger
The wife of a young businessman is preparing a festive consisting of delicious d
etails breakfast on the day of their wedding anniversary. My husband rushing on
the service and forget in a hurry home folder with a gift for secretary. For the
details of his wife realize that her husband was unfaithful. She walks into the
office and leaves her husband forgotten folder on the desk secretary. Male offi
ce dictates secretary, kissing her and eating candy donated folder. But his wife
poisoned candy. Lovers killed.
In this action-packed history of the characters all the time working with the de
tails. Details are actively involved in the development of action. Everything in
the story is told through the details. And key details have their own small plo
ts.
Key details of Act 1:
1. wine in the glass.
2. The dish,
3. forgotten folder with a gift - each told in his mikrosyuzhete in three acts.
Wine is poured, drinking, kissing, - glass falls, spilled wine.
Dishes served, decorate - served at the table - break in despair.
Folder - a husband forgets - the wife happily opens - and suddenly finds red pan
ties for a secretary - carries a folder in the office. It - poison.
Here are the details of the first act of the story.
Casual logic underlies the traditional American assembly. Each frame is associat
ed with subsequent like no
gluing and no. Pictures seemed to flow into one another and flow into your consc
iousness. You do not notice that the film is made up of small pieces 500-1000. I
t seems that it consists of 10-20 large pieces of scenes, well, maybe 40-50, but
not anymore.
The street is an attractive woman with hand thrust into his coat pocket. We saw
all of it, and then close the entire screen we see eye makeup smeared bruise and
scar above his eyebrow, and smeared makeup. Then we climbed into the black pock
et camera raincoat. There's a pale woman's hand squeezes blued steel pistosummer. With the help of two parts, we quickly got the necessary information and
guess that a woman is someone to take revenge.
When we see this phrase mounting, we think we see a unified picture, and get emo
tional clarity in the behavior of women. This installation - casual logic elemen
t of the story.
On a bench in the garden sits a man. He smokes. Near his feet, we see five cigar
ette butts. In this part, we understand that he is waiting for a long time. Hand
man crumples and throws butts to empty pack of cigarettes. We understand-man an
gry at the fact that someone is late. Again using the parts we have no words con
cise information about the man and his situation.
Now we see a woman approaching the man. He happily rushes to her. And she - bang
! bang! bang! - He shoots him with a pistol. Man falls.
This is a story in a casual logic. We have all the information about the event r
eceived from the screen.
But you can tell differently. Large man's face. He saw someone.
Large coat pocket, he departs from the fire. Bah-bah-bah! Hand man falls into th
e frame of about five cigarette butts. We did not see the murder scene, and gues
sed what had happened. None of the murder scene is not shown. The event occurred
in our minds, where simple, unambiguous frames joined into something whole, whi
ch is much of each frame - the scene of the murder. So are the details in the di
alectical logic eyzenshteynovskogi installation.
Dialectical logic
installation confronts incompatible concepts to a spark uniting them into someth
ing the third. Dialectics facing opposite, and this clash is born understanding
of reality - a figurative, metaphorical. Dialectical logic leads us to speculate
that the casual logic tells sequentially.
"The wind blew, the trees began to bend, underwear on the clothesline shot up. A

long the road flew white shirts and towels. They mingled with the dust raised. H
eavy clouds loomed. On the ground the first drops of rain fell. " This descripti
on of the event in a casual logic.
"The window suddenly swung open so that the glass fell. I flew off the table clo
th and trembling stuck to the wall. " These two frames are connected by the prin
ciple of dialectical logic. Their connection, we guessed the third thing - the b
eginning of the storm. As you can see, in the dialectical logic lurks energy ima
ginative story.
In dialectical logic, we often face mounting parts, expressing the part for the
whole. Feet in the boots of soldiers coming down the stairs. Hand tighten the ri
fle aimed at the audience. Women and the elderly are randomly running down the s
tairs. Each of these frames has a unique static sense.
Legs are on us.
Hands compressed rifle.
People run away from us in the depth of the frame.
However, connecting to the whole, these images create an image of an event that
is not expressed in any of the frames: the dispersal of a peaceful demonstration
.
Integer occurs only when these frames are joined together. This dialectical mont
age Eisenstein - an example taken from the '' Battleship 'Potemkin. "
You often see the elements of dialectical installation where a part instead of t
he whole is easy to guess.
Wheel car drove into the frame.
On the ground I set foot in patent leather shoes.
Hand brushed cigar ashes on the ground.
All clear - I come the big boss. We guessed this, although he did not see.
The first, who thus showed parts was Sergei Eisenstein. But these details have b
een shown not only for close scrutiny of. They were an instrument of dialectical
thinking to install. Eisenstein contrasted soft assembly uniting footage into a
coherent story, completely different, the opposite method of story. In Eisenste
in's mounting frames are merged together in a tender embrace, and encountered sp
arks of meaning. Dark frame faced with light, faced oncoming traffic, experience
d static frames to the feeling of movement and.
Dialectical montage
Dialectical montage - a series of small flashes illuminating the reality of a ne
w meaning, as opposed to the "American" installation creates a comfortable strue
nie. Dialectical montage annoying acts excitingly. It is good for the emotional
scenes.
Dialectical installation needs that we creatively solve each frame is not only s
emantic, but also the composition. It should be observed, and most importantly i
n a concentrated form. Part for the whole, instead of a general view of the item
to the event - that the elements that make up the phrase dialectical installati
on.
In dialectical logic compiled a series of simple unambiguous footage, and by com
paring them in your mind there is a third sense - installation rethinking realit
y.
Dialectical installation - Installation is emblematic images. That is, each fram
e must be clear as an emblem of reality. For this reality should be presented cl
early and quickly digestible images. If you want to portray in the scene puzzles
or crosswords-valued reality - your idea of personal risks to remain a mystery.
A complex-valued and can only be a general summary. This need emotional clarity
. What could be clearer details? Therefore, detail - an important and useful ele
ment of dialectical installation.
Dialectical logic - the logic is shaped. "Imagery" means that it is necessary to
take action is not a fact, but that gives the impression of this fact. On this
occasion, Hitchcock said, "In the film" Rear Window "when a man walks into the r
oom, James Stewart to pop out the window, at first I took the scene realistic. I
t turned out weak, did not make any impression. Then I made this: a close-up sho
t waving hands, close up face Stewart and then his legs. Then I mounted it in th
e appropriate rhythm and the result was the desired effect. " And then a great o

bservation - dialectical argument for installation details: "As a rule, that rem
oved the most natural way, the screen is most unlikely."
The event, shown in the dialectical logic needs in detail in order to clarify th
e emotional life of the performers.
We usually can not guess what a man thinks in his appearance. From collisions wi
th the part of the closed face, we offer a third party - the nature of the chara
cter. This experiment was first demonstrated in the 20s filmmaker Lev Kuleshov,
and it gives us a creative sense of dialectical logic
mounting. Detail colors emotionally inscrutable face. It seems that the actor li
ves deep feelings of restraint, and we, connoisseurs of art, speculate about the
m, matching face and counter-part plan. The impression given by mounting the phr
ase - a closed face and a counter-item plan - it's a little emotional outbursts
in the minds of viewers. Two plan like this flash soldered into a coherent whole
- is the effect of dialectical logic of the story in your mind.
Dialectical installation may seem somewhat too rational, intellectual and dried.
Thank God it is not. The audience in the film is not interested in the game of
the mind, they want emotion, emotions, and emotions. Therefore, from any story t
hey subconsciously try to pull emotions. We should help them just a little bit.
The viewer believes his emotions. If he moved, then it showed him the true life.
Do not fool he cry over nonsense. But smart people want the same. "Over my tear
s fiction" - said Pushkin. Already he understood the mechanics of fiction, and d
rat. Smart or stupid you are, and if we want to - you will cry. Why is that?Agai
n the answer is found in Pushkin: "Oh, do not deceive me hard, I delude myself h
appy." The viewer wants to dive into the world of emotional fiction. Its ability
to emotional reactions require food. In short, we need stress in moderate amoun
ts. Detail, like nothing else, provokes an emotional response. In detail, it loo
ks energetic, sensual.
How to shoot love scenes? Item: parched lips, matted hair on the entire screen,
woven fingers - simple set, and never fails.
How to Succeed in the scenes of fights and violence? Parts, components and parts
again. The larger, the more aggressive look. Any, a failure snyafifth fight you save, dosnyat heels details: fists, face distorted grimace of pa
in, hand missing bricks, blood spurted from his nose ...
When the emotional clarity, or at least the emotional certainty is reached, vect
or emotions indicates a clear direction experiences: the hero moves to the dange
r, the heroine comes to happiness, the heroes escape from the threat - then it's
time for the games of the mind. We plunge into the mystery or detective solve p
uzzles.
What is the logic of the third - antilogika?
This is the logic of chance, coincidence logic and absurdities. It is, in fact,
contradicts the logic of any story. But it has the flavor of life, so any necess
ary works.
When we come up with something, we create fictions about its small world, where
are our laws, our triumphs order punished our enemies. The plot - a lake in the
ocean about the chaos of life. Few accidents deprive the dream world of regulate
d . Perhaps no chance good fiction can not do, at least in the beginning of the s
tory.
- Why are you late? - Asks the teacher.
- Slept - says a bad writer-grader with a weak imagination.
- My grandmother was ill - are random and cause a good writer starts to develop
this accident - My grandmother fell down the stairs, so we called the doctor. I
had to wait for him, and then he wrote a cure, so I first went to the pharmacy a
nd then to school.
That is, we are involving an accident in our casual chain of cause and effect st
ory. Chance breaks into our story from the outside. She seemed to confirm that n
ext to the story rages not dependent on her life. Of course, the accident will l
ook more convincing, if the item
Its concrete stain. My grandmother fell and broke her hip - it's something. Is t
he item.
In the old stories, the heroine of the specific details are not convinced, and t

he power of the senses.

- I'm leaving you! - Says Pierre.
- Ax! - Marie faints, and it formed the fever. Strong, but not specifically.
- Go away from me. - Says Peter.
- This is after I do for you? Oh, you bastard! - Masha launches Petya knife. He
flies whistling past his ear and breaks a window in the photo brother.
- Bitch! Brother something to do with it ?! - Pete yells ...
Let this nonsense. Agree, at least, he convincingly last. What gives credibility
? Whistling knife, broken glass - parts. A faint, fever - a common place, like t
ears in the Russian melodramas.
Accidents are in dire need of details to look convincing and emotionally. There
are films in which cascades of coincidences deliver viewers ocean pleasure. And
they are all steeped in the details.
For example, "Pulp Fiction" by Quentin Tarantino. If you look closely at the des
ign of the film, you will find a fun detail. Firmly and correctly nailed the sto
ry as if the purpose razvinchena at the joints. Instead, the motivations are cle
ar chance, coincidence, unmotivated actions. They also deliver the greatest joy.
The causes and consequences in the criminal history are regulated so that the ac
tions of the characters in the "literate" plots are predictable, that's disgusti
ng. Accidents are unpredictable action of give and ease of improvisation.
Tarantino even revolvers and machine guns in the hands of the murderers behave a
s occasional. That firing in white light, then they forget to toilet, then they
pray, then perform clowning. It is a pleasure to remember how Bruce Willis touch
es the murder weapon, he is not satisfied with samurai sword. Or what Harvey Kei
ghtley directs cleaning machines ... All accidents are accompanied by vivid deta
il. This lends credibility of absurdity.
But the accident - a dangerous weapon. It is, as a rule, is in a precarious bala
nce with regularity. In the early history of the accident desirable and almost m
andatory. Then she should be involved in the logic of the story. The closer to t
he end, so it less space. At the climax only valid laws. Randomness in the clima
x is good if it overwhelms us on the road to catharsis. The climax and finale of
"Romeo and Juliet" is an example.
Randomness in the climax can detect your helplessness. Control it.
DETAILS OF CLIMATE
I shot with the Japanese one of the first films together. The group was Russian,
but when filmed in Japan, we were joined by the Japanese, and one of them silen
t, constantly smiling man. It has been the first day. He kept on shooting, but n
o participation in does not accept, glancing from the side and smiling. I asked
the producer:
- Who is it?
- Consultant camerawork. That means Japanese err - if it turns out that the Russ
ian did not know how to shoot, he will save.
Suddenly, I think he can we do to help? I asked gently:
- You cameraman?
- Yes. - Smiling and friendly.
- In Japan, the operators have their own union?
- Yes. - Smile.
- I wonder how many films should be removed to become a member?
- Fifteen hundred films or advertisements. - Smile.
- And you're a member of this alliance?
- I - the chairman of the union. - Smile.
I've got a lump in my throat stuck. We are the operator of the young guys behind
me only five films, he has about the same. A consultant from us - one of the ma
jor operators in Japan. I call three or four names of Japanese directors. He wor
ked with them. I'm asking:
- And who else of the prominent directors you have worked?
- Probably all. - He smiles. And then my main question is brewing - about Kurosa
wa, as he then was for all of us living genius, such as Fellini.
- And you worked with Kurosawa?
Then he smiles and holds a particularly wide smile for a long time.

- I took him one frame.

- As a "one shot"? - I did not understand.
In the evening, at dinner, he tells me the story of his single frame with Kurosa
wa.
Kurosawa is known for its extraordinary principles. He's in the frame all have t
o breathe real life. Therefore, a film where the action takes place in winter, w
ent to shoot on the very north of Japan - the island of Hokkaido, where the clim
ate is almost the same as in Siberia.
According to the scenario in the frame had to go with thick snow, and producer,
knowing how to do it in the movies, the stock of an unprecedented number of bags
of artificial snow, knowing that Kurosawa's "thick" it is much thicker than any
other director.
We left on the first day of shooting. Kurosawa preparing mise en scene. Producer
ordered that three vetroduya drove the wind. In the frame only with deer Santa
Claus is missing. Winter natural winter. But Kurosawa says:
- I can not shoot the snow.
- Why? He is always removed. This is the best artificial snow Japan.
- It does not melt on your face. And I have. to large snowflakes slowly fell and
melted on the faces of the actors. This creates the necessary climate scene.
- What do we do?
- Let's wait for this snow, which is famous Hokkaido. For this, we have come her
e and.
In the evening the group left without removing a single frame. The next day, aga
in produced a shot. The next - again. And so it went for three weeks. All agreem
ents with members of the group were over. Kurosawa was adamant. Producer require
s threatens court. On this Kurosawa says:
- Do you want to distort and destroy my creative individuality. In order to prot
ect his identity, I have to commit suicide.
Twice during his long life Kurosawa cut his wrists when producers drove him into
a corner and demanded unacceptable compromises. If Kurosawa dies, the producer
will be disgraced and thrown out of the business. And if you wait another week,
I will be completely ruined and thrown out of business, too. Selecting the poor.
Producer concluded with the group new contract.
Another week passed. And then it began to snow. All happily rushed to the shooti
ng. In Japan, there is a principle: one episode to take a single day. If necessa
ry, put the two. three, four cameras. In Kurosawa is an episode such as a fire S
hogun Palace in "RAS" - there are six cameras operating simultaneously, and for
fifteen minutes while burning a huge multi-storey palace decorations, removed ex
pressive episode.
In this movie, a great episode had to shoot three cameras, and Kurosawa operator
prepared a complex interaction of cells to each rented a part of the scene in o
ne continuous plan. Then he mounts. It was all worked out perfectly. Ten minutes
would be enough snow. Rushed to the shooting, the snow is still going. All inst
antly ready actors in makeup, can command "Action!" ...
But Kurosawa says:
- No.This fine snow, and I need large snowflakes. This snow does not melt on you
r face, it is like a fine rain.
Again, the group left without clearing the scene. The operator grinned:
- I collapsed two contracts for the movies, I had to take. But I could not quit
prepared episode. We waited for almost another week.
Finally he threw a real thick snow, which is famous Hokkaido. Snowflakes as big
as cherry blossoms, floated from the sky to the ground. The earth was covered wi
th a soft veil of snow. Everything was fabulous. We took a great episode. Then I
said, "Kurosawa-san, I was happy to work with you, but now I'm waiting for anot
her job."
These enormous snowflakes melting on their faces, were in the plan Kurosawa domi
nant part of climate scene. If the director has conceived such detail, it makes
sense to ensure its implementation. Maybe not so dramatically.
CLIMATE SCENE. DOMINANT ITEM
In order to create a distinctive environment in the scene, you'll need a lot of

detail. In these parts, there is one unpleasant feature - they dissolve in the s
cene. You saturate scene details, and she eats them one by one, and it seems tha
t you throw in the details abyss. To deTali became visible, they should be strengthened. Give them a role. In the scene
, for example, need to create an autumn mood. You bring the car yellow autumn le
aves. They are scattered over the ground. You would think that the scene is alre
ady autumn climate. Nothing like this. Yeah, it would be good autumn wind. Under
vetroduem are three bags full of leaves. They throw a stream of air. The leaves
are flying in the wind. Even better - it smelled this autumn wind. But a single
leaf on close-stuck to the actor's face - and fall in the frame arrived. A coup
le of leaves hit the windshield of the car - a real fall in the frame. Three yel
low sheet that came into contact with the actors helped more than twenty bags ly
ing quietly leaves background. It seems one can conclude that it is necessary to
put the most important items on the close-up. In principle - yes, but the item
can work on any plane. In one film Andron Konchalovsky's action takes place in t
he village on the hill. Over the hill the endless expanses of Russian fields. At
some point, we feel this especially stereoscopic infinity. At this moment, in t
he distance, five kilometers, the road goes tiny as a point machine, and behind
it rises dusty cloud that breaks the rays of the sun. This machine provides the
epic scale of the landscape. The feeling - like the paintings of Bruegel. I say:
- How do you cool podgadat with the machine in the background.
- Podgadat? - Offended the director. - I drove her two o'clock until this tail m
ade of dust.
In many movies, the director recalls the emotional climate of the scene only whe
n it is necessary that a subburn or explode. Then the screen for a moment filled with swirling fire. But goo
d movies all the key moments in history are visual solution.
Truffaut, Hitchcock asked about his film '' a shadow of doubt ":
- I puzzled over one piece. In the first episode at the station when the train c
omes, which comes Uncle Charlie, a huge cloud of black smoke clouds the whole pl
atform. I feel that in this laid a special meaning, because when the train depar
ts at the end of the movie, there is only a slight puff of smoke.
X. A. You're right: I specifically asked for a little more smoke in the beginnin
g; this is one of those ideas that are very difficult to implement and that go u
nnoticed. But here we were lucky. The position of the sun created a lovely shade
overspread platform.
FT Black smoke heralded the coming of the devil. X. A. Exactly. A similar item i
s used in "The Birds" when Jessica Tandy, shocked by the death of the farmer goe
s to his car. To create this feeling, we specifically added the dusty road and t
ruck exhaust. This departure contrasted with the peaceful spirit, accompanied by
her appearance on the farm. Then we rammed the road, and no smoking in the truc
k it is not allowed.
Kurosawa assigns a greater role to detail, to create a climate. Remember the "Se
ven Samurai"? The decisive battle of the samurai with the bandits held under pou
ring rain in the sodden clay mud. This mud - the dominant part of climate. Warri
ors and horses slipped and fell into a slippery mud. Each step in the struggle c
reates a small explosion of spray and dirt. Wet mud comes to life in the frame.
It gives a unique scene. Hundreds of fights I've seen on the screen and forget,
but remember this.
Rain, snow, damp autumn breeze - it is our great helper in creating a climate sc
ene.
I ask the students come up with a detail that would express the climate of a par
ticular time of year. To be an emotional feeling from climate change.
TOMASZ
November. Family house. In the courtyard of the swamp covered with red leaves. T
he men in rubber boots drink slivovitz and sharpen knives. In the paddock runnin
g around nervously pig. One of the knives hits the ground. Butcher knife wipes f
allen leaves. Women in the pair. They boil water in huge vats. Butcher upsets a
glass of slivovitz, climb into the pen. The pig squeals of horror. The knife cut
her throat. From the blood comes pairs. Pig Feet twitching in the mud. Cats lic

k excitedly around the paddock.

Holger
July. Green field. Ringing cicadas. On a hill high nine-house. The balconies are
elderly. They umbrellas, still. On the ninth floor balcony runs the woman and s
houted:
- Help! I jump down!
No one responds.
Two bees are trying to get out of the misted glass of ice water. But all time fa
ll in the water.
Atmosphere - it's always a tandem operator and director. Few think of the item,
it is usually necessary to illuminate, to find her a place in the composition of
the frame. And this business of the operator.
Hitchcock talking with Truffaut Part in "Suspicion".
Hitchcock: I came up with this scene. Cary Grant brings his wife a glass of pois
oned milk - just at the moment when she finishes mother's letter: 'Dear Mom, I l
ove him desperately, but did not want to live with a murderer. Let myself I woul
d die, but society should be protected. "Here comes a fatal Cary Grant and Joan
Fontaine glass says:
"Do not send this letter to my mother, my dear?" She drinks milk and dies. The i
nflux and a short frame: Cary Grant, whistling nonchalantly, coming to your mail
box and throws into the slot letter.
FT very creative.
A. X. By the way, the scene with the milk you like?
FT When Cary Grant coming up the stairs? Yes, it's brilliantly done.
A. X. I commanded to give to the light.
FT That is direct light on milk?
X. A. No, we made it so that the light luchilsya inside of the glass. Cary Grant
is going up the stairs, and all the attention is directed to this beaker.
FT And so it was. Very impressive detail.
When we talk about the details of the climate, the most common working term is "
a key visual image." This means an image in which the concentrated essence of a
scene, expressed some essential part of the overall design of the film.
This is not equal to Federico Fellini. Think of it snowing in the film '"Amarcor
d": southern city under some unthinkable multi-day snowfall. The main square of
the city turned into a maze of tracks dug into snowdrifts. Adults, like children
, happy, playing snowballs. Snow all the knocks and knocks. And suddenly, with a
strange, guttural scream arrives to the area of ??unknown birds and dissolves u
nder the snow fantastic beauty tail. This peacock. For this frame of Fellini pro
duced electronic peacock. According to rumors, it was worth the money unimaginab
le. But the frame with a peacock in the snow - one of the most famous in the wor
ld of cinema.
Boundless imagination Fellini, usually for each episode is a key visual image. I
n the same "Amarcord" Remember - lots of lights shimmering ocean ship, a meeting
which sent boats and yachts villagers. Or a huge white bull in a fog. Or tree,
which climbed crazy uncle of the hero. He refuses to climb down and shouted: "I
want a woman!"
And how not to recall the "Rome": a stunning episode - film group trip. There, e
ach frame has a bright visual solution. The content of each frame specifically,
locally, has one major, the dominant item:
- Rain beats in transparent plastic walls of the house, built around in the air
like a flying camera on the crane;
- Mud closes up windows of cars:
- A lone dog in the rain in the empty back of a truck, and a number of important
dog in the cabin "Cadillac";
- Carcasses of animals killed in the crash on the asphalt.
And so it goes from frame to frame mounting energy and drama. So to the final, t
he world looks adopodobnym apocalypse.
Remember "Andrei Rublev" Tarkovsky, the final novel '' The Bell. "Spring, black
damp earth, white canvas, spread out to dry on a hill almost dried out. And melt
ing snow, as the clouds lying on the ground. This is the beginning of the novel.

Dank autumn rain . Wet clay ground on which glide feet. And white cabbages at o
blique streams of rain. Svezhestrugannye pillars and beams surrounding the clay
oven. Hot flames fire among the snow-covered space. Brooks molten bronze flows t
hrough the channels among the sparks and white steam.
Or remember the fantastic frame of figurative energy: a young guy with pereruble
nnym throat falls to the ground, and next vibrates just left them saw.
When the center of the frame is found correct part - everything starts to radiat
e energy.
ITEM AND TRUTH BODY
For details of the climate it is particularly important to the quality of perfor
mance. Snow should be similar to the snow, not the white confetti. And that they
must behave as natural snow. Rain should not look like a stream from a hose.
In the film "Call, open the door," I wanted to create a welcoming atmosphere in
the school winter morning: not yet fully dawned, classroom lights on, and for la
rge windows with thick snow falls slowly. To this end, five women with a backdro
p of forest shaking sieve with paper snow. Two hours we spent to achieve complet
e naturalness. When achieved, the snow seemed disappeared, vanished into the sce
ne. A scene of the credibility acquired some gentle, tender memories. One operat
or after the premiere came up and said:
- Wow you're lucky with the snow in the first scene. Such an atmosphere ...
- Yes, it's a paper snow. We shot in the scenery.
- Vries, that I did not take off the paper snow ?! It can be seen a mile away. T
his property of the atmosphere to dissolve the details in a scene, increasing it
s emotional persuasiveness, is particularly strong in the details
Lyakh emphasizing the truth of the body of the actor. You do not notice these de
tails of behavior or portrait. Just an actor looks more natural when his face is
covered with sweat or dirt, breathing intermittently, the snow melts on the fac
e or rain dripping on wet skin. When the wind throws matted hair on the face, bl
eeding wounds, bruises swell - you rarely think about the parts separately, for
this it is necessary that the story was quite boring, and execution quite dull.
When everything is working properly together, invisible parts, and you think: "C
ool guy. As he told me
like. I want him to win. "Part of the truth of the body - it is a secret agent a
cting success.
In the movie "Total Recall" Schwarzenegger's character is sent to a distant plan
et to help the rebels mutants. Its stalk should be killed. And in one of the key
scenes of the agent pursuers Schwarzenegger urges that everything that happens
to him only a vision that it takes for real life. Opponent verbose and convincin
g. Schwarzenegger confused. We clear if he believes it will be killed. But he se
es the speaker's forehead bead of sweat crawling. It gives him power. And Schwar
zenegger understands: "He's lying!" - And shoots. Great scenery, actors, extras,
special effects, and against a drop of sweat. This is what can make the item tr
uth body.
Here are a few student improvisations on the theme "Details of the truth of the
body creates a dramatic vicissitudes."
Janek
Gunnar love. His girlfriend is the first time with him in the restaurant. And ha
ppy Gunnar pays no attention to what she ordered fish. But Gunnar idiosyncrasy t
o fish. As soon as he swallowed a piece as his face reddens, swells. He gasps, h
is eyes climb on his forehead. This dramatic allergy attack can end in tragedy.
"Ambulance" Gunnar takes away to the hospital. There he was evacuated, do wash,
give a sedative. Gunnar wakes up at night. The body is unusually easy, he is hea
lthy and damn hungry. Throwing on the shirt a hospital gown, he sneaks into the
street. The night takes a sausage stall and eat it with pleasure, feeling that s
wallowed up every piece of the body back the energy.
Katerina
Ralph swims in the sea. He is a good swimmer, swam away. Every move gives him jo
y. He is happy with his strong, healthy body. And suddenly he sees an approachin
g shark fin. Ralph struggled to swim ashore. But the distance between it and the
fin is declining rapidly. He loses the rhythm, swallow water, its movements bec

ome erratic. Fin closer. Hands Ralph soar over the water. Where he had just floa
ted on the water it spreads the Great Red Spot.
Ulrike
The cyclist of the last forces went to the mountain. Behind its wings friction
ner by car. Sweat poured over the face cyclist veiled eyes on the back of T-shir
t was black with sweat, muscles seem stone. Each seemed tied weight. Another ten
meters, and it will fall down exhausted ... But the rise ends. The cyclist is i
n a cold mountain stream. The water foamed in his face. It is bliss.
KILIAN
Winter. Taiga. Hunter skiing, chilled, tired, hungry, gets to the hut. He stripp
ed naked and sitting in the barrel with hot water, sweating, relaxing, napping,
feeling total bliss. But he does not notice that a drop of lamp oil flows. It wa
s formed on the floor of a trickle, trickle dotekla to the stove. Hunter, blissf
ully happy, sleep in a vat of hot water. He dreams of a hot summer. He wakes up
when the fire engulfed the entire room. It is impossible to extinguish. Hunter p
ops out. He runs around the burning hut. As long as the fire continues, it is wa
rmed by fire. What happens next? It was better not to think.
MICS
Man goes through a frozen lake. Suddenly, the ice crack beneath him. The guy run
s, but the ice is cracking all the stronger. The guy is immersed in water. He gr
abs the sharp edges of the ice floes. Clothes wet and pulls Man
down. His head appears above the water, then it disappears. The last thing he se
es - people running toward him. Banya. Man lying on a shelf and bliss. His body
is steamed, red face shiny with sweat.
Detail of the truth of the body - it is an inseparable part of the convincing ac
ting performance. It helps us understand the man is proud of his body, or ashame
d of it. There had abnormalities: lameness, chronic diseases, occupational habit
s. What is his social position. Whether it is sports. He is slow or fast reactio
ns.
All of these issues is useful to ask the body. If you find the answers on-screen
appearance of acting rise. Around the actor's helpful to have a microcosm of th
e woven pieces that express the personality of the character.
Items of clothing, objects in his hand. all that is near a person has a chance t
o be shown very large. These details create the atmosphere of the scene. Some pe
ople say about me: I do not like things. They are constantly fired on iron, coff
ee spill on his pants, shirt stain eggs, their fingers in ink and bruised face.
Other subjects treated with masterly. And all this food for our imagination.
When the characters are in conflict, they help fight microclimates, visualize it
, and develop emotions of viewers.
ITEM SYSTEM
Charlie Chaplin was the first who gave details of a separate independent life. I
n the film "The Gold Rush" Chaplin waiting for him on New Year's dinner coming l
ocal beauties. He falls asleep and dream entertains guests, fulfilling forks on
the table dancing bottles. Detail here, as it should according to the traditiona
l view, small in the comparison with a person of the action.
But next film "City Lights" opens a huge part, in comparison with which Chaplin
himself looks like a bun on the fork. This detail - Plural monument, where a hom
eless vagabond Charlie found the night.
The game is a monument to the tramp in principle no different from playing with
Charlie small detail. Monument plays a tramp just like a tramp playing with roll
s like a cat playing with a ball. Item exhausts Charlie in a hopeless situation,
and then to another, the third ...
This great item can be called a "detail-system" - it is associated with a series
circuit of actions in the conflict, and it's useful working term.
The idea of ??a large part of the conflict, and the little man turned out to be
extremely productive, and in the next film "Modern Times" Chaplin offers a two-p
art system: one big, the other - huge. Most - a feed machine that some inventor
suggests that workers could have, directly from the assembly line.
Conflict of Charlie and the item system is developed as well as the history of a
ny living character drama in three acts. Simple principles of drama and so good

that they are suitable for all cases of conflict.

The first act - the exposition. It becomes clear how the machine works. The expl
anation is written on the plate. The inventor of the word demonstration accompan
ies the individual elements of the machine. But this is not enough. When Charlie
Chaplin is inserted into the machine, the explanation is repeated. This time wi
th Charlie. Now everything is completely clear to any fool.
This desire for clarity is not personal style Chaplin. Clarity of exposition - i
s the principle of the drama. Here's what he said about this great machine
erased most complex and mysterious action cinema, one of the three geniuses of A
merican cinema (meaning that the other two - Chaplin and Orson Welles) Alfred Hi
tchcock: "To be clear, constantly refine all the details are extremely important
." And Hitchcock echoed by Francois Truffaut also not the last person in the mov
ie: "... it is important to simplify everything as much as possible. The film di
rector should have a sense of simplicity. I would single out two types of artist
s: those who can be simple, and those who aspire to the complexity. Many fine ar
tists and fine writers belong to the second group, but to be absolutely clear, i
t is necessary to simplify. " Nothing could be clearer than clear visual detail.
When everything became clear, the action rolls in the second act of problems and
complications. Suddenly Machine sparks and faltering. Soup plates poured Charli
e's chest, he throws in the face. Ear of corn wildly spinning, threatening to kn
ock all the teeth. Napkin is infuriated, begins to beat Charlie's face. The clim
ax of the third act - a complete disaster damaged machine.
What is interesting - all the details of the item system: soup, corn, cloth - al
l have three act development.
In the development of "part-of" the principle of:
structure inside the structure, inside the structure. That is, all working toget
her in three acts, and each element has its own three-act development. "First sh
ow me the usual, then show that the usual unusual, unusual Shall then to the max
imum." The principle of three-act of the conflict is fully applicable to detail.
But next to the gun show something more original - a huge conveyor belt, where C
haplin no more ant in an anthill. And this conveyor also acts as a part-system a
nd developing the conflict in three acts.
First in a series of conveyor funny episode exposed the system of sweating worke
rs.
Then - the complexity of Act 2 - Charlie enters the guts of the conveyor, as it
were eaten alive by them, appears caught between gears huge fantastic machine. T
he system drives it through itself as a part of the conveyor.
Finally, the third act: Charlie is crazy and creates a disaster with explosions
and full raskardashem in the shop.
"Part-system" - an idea rather traditional. Even Hitchcock said: "I employ local
surroundings, where possible. It is not just my background, and played up drama
turgically. In lakes sink and dumped in the Alps in the abyss. "
You go in the wilderness. First you light breeze blowing, the sand caresses your
toes. But later in the morning on top of the relentless sun bakes, feet sinking
in quicksand, sweat veiled eyes. Thirst tormented mirage deceiving - you get lo
st, you are threatened with death.
This desert can be developed as a "detail of the system." It operates the threeact principle and the principle of the vicissitudes of the conflict "from hope t
o despair." It is your enemy in the conflict.
Example "piece system", to create happiness? In the film "Shine, shine, my star"
is the home of the artist, the painter, and a village painter Fyodor where the
characters experience maximum happiness. The apple orchard is a very hot bath wi
th scented oak twigs. The hut on the table steaming crayfish and a bottle of vod
ka. All the walls are painted with the Garden of Eden and the closely hung with
paintings of the artist. All shining rainbow. Rainbow - boat lovers, the rainbow
- a rooster tail, rainbow - arch wedding sled rainbow - a sheaf of wheat, and o
n the floor, like a meadow, growing fresh grass.
Several student exercises on the topic: environment as part system.
Katarina. LOVE DIPLOMATS
The Frenchman and the American visit an ancient castle. They are the only visito

rs. Walk through a maze of halls, passages, ladders on the tower and cellars. Lo
ve takes them completely. And all of a sudden heart attack a diplomat. The woman
is running for the exit, but can not find it in the maze of rooms and passages.
It is tangled, is several times in one and the same place. And he, abandoned by
all, moaning in pain subsides and dies.
Sven. HUNTER
Deep autumn. The settlement in the mountains. Hero is nothing to eat, the harves
t was lost, destroyed game hunting. Hunter goes to the mountains. His weapon - a
knife and onions. He climbs higher and higher, to get to the other slope of the
pass. The stones are broken out from under his feet and generate an avalanche.
Avalanche hunter pulls down, he struggled to get out from under the landslide it saves a cave in the way of rockfall.
But in a cave bear. He attacks the hunter. Stabbed, angry bear hunter pursues. B
ear Growl unleashes an avalanche. Hunter hiding in a crevice between the rocks.
Avalanche sweeps, leaving a deep snowpack. The hard-hunter is selected from the
snow. One hundred meters higher - two dwarf pine. Of these, you can make a fire.
Hunter crawling the last effort to them.
Trees are very close. He touches them, but falls into the cave breaks a leg and
ribs. Where his remains are tourists in three thousand years.
MICS. CAGE
Guy seventeen. He has an affair with a teacher. When it comes to her private les
son, they immediately crawl into bed. My husband knows about it. Suddenly he com
es home, his wife Man hides in the closet. But her husband suggested it. He carr
ies a wardrobe in the car to the dump. Man tumbles in the closet. On landfill wa
rdrobe overturn the conveyor. He goes right under the rink, which grinds all the
garbage in the chips. The guy in the closet screaming. Woman rides them in his
car, but at the dump gates are locked and must climb over the fence. She runs to
the conveyor, rocking wardrobe and falls with him on the slope of Mount garbage
. The cabinet is divided. Lovers in the dirt and debris hugging each other.
As you can see, in all three instances, in fact, the two are fighting - the char
acter and the system consists of many parts. But the details of the system are c
ombined emotional dominant action. Such a conflict is interesting to develop.
Nils
I came on the radio to work in the air. I was shown three buttons. Green - sound
s plate yellow - include advertising, red - I say to myself. And left alone over
night. I have a suitcase with plates, but before that I was worried and sleeples
s night - and the result has forgotten the key to the suitcase. I try to open it
by force and cunning, but to no avail, and the work began. I press the red butt
on - talking nonsense and I cut the bag to get the plates. I press the yellow went ads. I see another button - alarm. Clicking on it - control exploded, and e
verything went out.
ANDREA
I was hired to work in the pool bar. For all this paradise: Blue water, yellow s
and. But I come at dawn, carrying boxes all day, and my mug of beer glasses, loa
d the refrigerator. I forgot that it is necessary to open the beer taps when you
start a new barrel. Everything was flooded with beer ejected from the barrel. T
his paradise became hell for me.
I asked myself: how reasonable limits can grow item system? And in the film "The
Tale of Wanderings" invented detail system the size of a small country. It is a
happy country - the body gigantskoOn the dragon had flown to earth in ancient times, and mired in a swamp. Around
the dragon rush legends that he ferocious devourer of all living things. In fact
, it took root fed adventurers. They eat meat ground from under the feet, suck t
he juices out of the body of a dragon. Happiness lasts as long as the dragon ris
es and sets environmental disaster.
What sense to combine into a single whole small rolls in the hands of a genius a
nd the vast expanses of ecological catastrophes?
The meaning of downtime. We get a single principle to enhance the environment in
the conflict. The conflict is only the fact that the enemy is facing. Activate
the item system - that means to make it a major participant in the drama. Partne

rs such conflicts exist, as we know, only four categories:

a ?! - [if! supportLists] -a ? 1. a ?! - [endif] -a ? Hero.
a ?! - [if! supportLists] -a ? 2. a ?! - [endif] -a ? A friend of the hero.
a ?! - [if! supportLists] -a ? 3. a ?! - [endif] -a ? antagonist.
a ?! - [if! supportLists] -a ? 4. a ?! - [endif] -a ? The object of love of the hero
.
If the item is included in one of these categories, it actively helps the develo
pment of the drama.
The film - a humanized you part of the reality. You yourself create it. The more
it will absorb your identity, the more human will
movie. Anything that helps humanize soulless reality strengthens emotional conne
ction the audience and the film. Therefore, the "item-system" - a useful working
idea.
DETAILS AS BARRIERS
We are surrounded by thousands of items. Unless you come up with what to do with
them - they are simply background. What you have seen such scenes: two talking
- fighting words, resent, rejoice, and the visual world around calmly looks at t
hese fountains words. You look lifeless space in which the action hero, and say
to yourself, this space - the enemy hero. How it works against him? And in your
mind there are barriers that express the character of the space: an evil, cunnin
g, indifferent. Hero must deal with it. He asks questions, and get answers to th
e action-counteractions. There is a visual dialogue-struggle.
Imagine a room in the motel. You stumbled back to the night, dead tired, with th
e idea to get to the cushion. You go in the toilet, you want to flush. but in re
sponse to the toilet in the face gushing stream of some stuff. You run to the sh
ower, and the water from the shower suddenly becomes the cold, then hot. She's h
ot. Everything is shrouded in steam, you're fired, and plastic stall door tightl
y closed. Last effort you break wall shower. Water is poured on the floor, and i
mmediately something sparks. The lights go out and the wires on the wall of ligh
t. You rush to the window. But the landscape outside the window glass is painted
on a blank brick wall. The room - a microcosm consisting of parts kotorye beckon deceptive comforts, but in fact aimed to destroy you. It '' item sy
stem "- the enemy.
You look around the room, which happens a love scene, and ask yourself this room
- each character? What is helping his love? Are you looking for an answer to a
specific question, and a love scene is no longer a straightforward combination o
f the provisions of the pair in an inert space. But this room can be an enemy as
. for example, a hotel room, where there are characters in love "Lady with the D
og" by Chekhov. Maybe love object distant childhood as a children's room in "The
Cherry Orchard."
Chekhov is not indifferent rooms and spaces. For some,
the characters are - the object of love is overgrown with old cherry orchard for
Ranevskaya and Gaeva. For others - the object of hatred is the same garden for
Lopakhin and Petit. Classic does not allow himself to show negligence, something
not participating in the conflict.
Low genres, as always, the first to master more details in the movie system. Hor
ror turns inert at first glance into the world of space a thousand fears and thr
eats. These threats - is always part of the system, for which guessed character
with vengeful and violent nature of the maniac.
The best example of the revitalization of the space with the dominant emotion gi
ves an essay that has the greatest emotional connection with humanity. It's the
Bible.
What is the "hell" and "Paradise", but the two most active space opposite the do
minant emotion? "Hell" - the worst enemy and tormentor. "Paradise" - the object
of the most intense love. Both act as a part-system. Ask yourself: What in the s
pace of Eden? What's in it from Hell? Look for the answer in detail specific act
ions system, and you're on the right track to enhance the emotional contact with
the audience through the piece system.
DETAILS OF PARTS TO AMUSEMENT
Knowledgeable filmmakers know the power of details and often rely on their key r

oles in the scenes. Let us look how the details work in the film, where they con
sciously prominently.
"Blade Runner" director Ridley Scott for many years is a cult film. Not least be
cause of the unique atmosphere created by many details. The plot of the film is
that the hero Rick (Harrison Ford) must destroy five dangerous robots indistingu
ishable from humans. Rick begins to investigate, and he initially did not have i
n their hands. The first bits of information - Photo deserted room. Rick handles
the photo on your computer:
increases, rotate - working with the item as a system containing secret informat
ion. And he finally finds a woman lying on the couch and gets her portrait. Then
Rick starts to work on the other part - scales, which he picked up on the floor
of the shower stall in an abandoned apartment. The fish shop-old Japanese woman
increases flake under the electron microscope. We see
Scatter pieces of glass broken windows, snow mixed with the wind, rain, fog, blo
od ... This is not an exhaustive list of the elements of aggression creates a co
nvincing atmosphere of Siena. Everything is brought to the viewer through the de
tails, the combined attraction.
cellular and molecular structure of the scales - the item scale developed system
. This scale artificial snake. The serpentine bench Rick learns where sold this
snake. Then, strictly following the rule: "Get the information bit by bit to the
risk and difficulty, if it is valuable," Rick goes to a nightclub. There are th
reats and force, he finds out what a dancer performs with this snake. Informatio
n collected - the first act was over.
The second act of development and complexity of the conflict. Rick is seeking a
meeting with a charming and ironic dancer. The beautiful half-naked body sweaty
dancers and hope. She is taking a shower and getting erotic. Water, sweat, wind
- strong agents truthful climate - it is clear that this time, Rick was right. N
o it's not a robot - the truth of the body convinces us without words. Then the
dancer beats and strangles Rica with inhuman cruelty. Rick chasing humanized rob
ot. The most aggressive parts of the third act climax occurs when Rick catches a
nd shoots a dancer. How is the death of a key image of the robot? Seven times sh
e breaks the glass showcases. Seven times. First four frames, where the dancer e
nters the glass wall. And in three frames window glass fly from hitting a shot o
f a female body. artificial snow sprinkled on the body of a dead robot. A convin
cing set of aggressive elements: sweat, wind, water, snow, naked body. Such aggr
essive parts we call '' amusement. " The first to introduce this term was Sergei
Eisenstein.
DETAILS AND "montage of attractions"
"Montage of attractions" - the name of the action, which the 22-year-old theatri
cal innovator Eisenstein in the 20 years in Moscow, trying to destroy the tradit
ional theater in the play "every ... pretty." All scenes respectable classics Os
trovsky play "Even a Wise Man Stumbles" it has been turned into a shocking pop n
umbers. For example, wedding heroine spent a clown. All the participants sang a
comic song "The priest had a dog. He loved her, she ate a piece of meat, he kill
ed her, "and played the pop circus" rubber ", portraying a dog. It turns out tha
t Masha is not one, but three of the groom. What to do?From the auditorium to th
e stage carried a mullah who continued Wedding begun offering Masha harem husban
ds. After svadto all the guests sang parodies of the verses on topics of the day and danced th
e dance of Georgian soldiers - lezginka. This, of course, only a small example o
f the two-hour show. which Eisenstein was stunning theatrical audience. All the
action consisted of the rides. At the climax of a stunned audience chairs explod
ing firecrackers. Mutilation was not, but, as they say Ilf and Petrov, "pregnant
women were unhappy."
In the next play the young theatrical traditions destroyer destroyed the auditor
ium. The audience at the performance crowd wandered through the shops of the gas
plant converted into a theater. They poured water fumigated acrid smoke. Thus,
we achieve a sensual touch action.
The plans were indefatigable radical "... the abolition of the institution of th
eater as such and its replacement by the exponential advances station to raise t

he qualification of life of the masses." No more no less. Thank God, it did not
come. Eisenstein movie sucked.
The elements of which was experimental theater performances, Eisenstein called "
attractions".
"The attraction - is just an aggressive moment of theater, designed for emotiona
l shock viewers."
The idea of maximum Eisenstein suffered shocks viewers in the movie. His first f
ilm, he began to make a set of attractions. It was called the "montage of attrac
tions".
The "montage of attractions" Eisenstein guessing that the movie is able to influ
ence the feelings of the audience with unprecedented before the activity. That w
ording Eisenstein:
"Montage of attractions" - it is a free installation of randomly chosen independ
ent effects, but with a fine adjustment to a specific final thematic effect. "
We add only that the freedom of assembly in the cinema, Eisenstein very clearly
limited conflict. Rides are always intensified the conflict of the opposing forc
es.
In the formulation of Eisenstein seems to him the most important ideological tas
k - the effect of the topic. But as a brilliant director, he intuitively felt th
at the most important - is the emotional involvement of the audience. Anyway, in
"Battleship" Potemkin ", where the installation of amusement was announced with
unusual aggressive parts, the emotional impact was dominant.
Amusement DETAILS Eisenstein
In the theater, Eisenstein staged performances like theater and television stude
nt skits. In the movie, he opened up new horizons to the young art. This fantast
ic leap Eisenstein made two years.
What added to the theatrical Eisenstein "montage of attractions", came to the mo
vies? I would say - a little bit of Aristotle, his conception of tragedy and poe
tics. In the framework of the history of lay drama develops from misfortune - fo
rtunately ... - happiness - unfortunately. All the rides were subject to the dev
elopment of the conflict. The conflict developed under this scheme to catharsis.
Rather provocatively improvisational set shocking amusement appeared logical co
nstruct simple and absolutely clear dramatic history. And then it appeared the d
epth and endearing of all the emotional impact of art. For this handy idea theat
rical attractions. Only now they have received the strong support of cinematogra
phic detail. They were in the center of each attraction. With these details on t
he audience emotional flood of information in a clear-picture frames. This was s
omething completely new. Eyewitnesses say that the first audience experienced an
emotional shock. First none of the art details were not as a separate component
. Detail - it's part of the whole. Movie highlights this part, limits its screen
bezel it shows how something artistically completed. And part of the work
as an independent artistic image, or attraction. Force parts Eisenstein realized
before anyone else. And, as a thinker, who shall communicate the idea to limit
expression, he realized that the size of the details do not matter. Its most imp
ortant function in the story. "In the movie, the emotional impact is determined
by the grain size of the plan. Cockroach, shot close-up, worse than a herd of ma
d elephants running through the jungle, captured the overall plan. " This fully
applies to detail. The part that expresses whole can be any size and display in
reality.
Full screen shows the meat. teeming with worms - they are fed the sailors on the
"Potemkin." Two seconds - and you are emotionally on the side of the sailors, b
ecause these worms you stuck right in the face.
Protesters seized the sailors - now they are shot. They tarp thrown over - a com
mon bandage on my eyes. This detail draws you into the event - you are there, un
der that tarpaulin. You forget that it is just an invention of the director. Fro
m the point of view of common sense foolish to close sailors tarpaulin - it will
be difficult to get. But figurative B
Details la stronger than common sense citizen. Stirring tarp stunning and exhort
ed them all.
After the screening power in Russia have received dozens of applications from th

e former sailors 'Potemkin' and their relatives with the requirements set their
pensions because they were threatened with execution and hundred
Yali under canvas - go and check. But I'm not surprised that the memory of peopl
e united fiction with real experience. Detail-metaphor has great persuasive forc
e.
On the mast "Potemkin" raised a red flag. This flag fluttering in the wind Eisen
stein himself painted in the mounting red ink. And it was the first appearance o
f dramatic color in meaningful cinema. The audience clapped excitedly little red
flag.
Before the main entrance of the building in different Odessa sitting, lying, sta
nding stone lions. In the southern city of lush loved symbols of power. Eisenste
in mounted in a short sentence of three lions: lying - sitting - standing. It tu
rned out - a lion jumps. "Growled Stones" - attractions item metaphor spoke in s
ilent films.
The rebels seized the sailors hated officer doctor. His throw into the water. Ha
ndrails stairs swinging his pince-nez - all that remained of the enemy. Detail instead of the whole dramatic episode ends.
Almost every frame in the minds of viewers as a bright flash burst clear images
expressed in the details of attractions. These details are to limit the exacerba
tion of conflicts. They created a sense of life coming from the screen into the
room flow.
Detail - a selection of the artist. Eisenstein realized part for the whole work
more productively than the whole. He strove for emotional impact on the audience
. He found the way through the piece.
Terrified woman in the crowd - broken glasses, flowing eyes - this frame provide
s all the encyclopedias as the card of the Russian revolutionary cinema.
Young mother falls, struck by a bullet, a stroller with a crying baby, bouncing,
rolling on the stairs - this frame works as an amusement part. It is - part of
the whole - the crowd, terrified. Wheelchair worked on an emotion of horror more
than a hundred terror-stricken people.
Detail by Eisenstein - is part of the whole, to work independently ride to insta
ll. This definition brings together the most different, the most contradictory,
at first glance, things.
This unity of opposites and Eisenstein sought. as the basis of his thinking lay
the dialectical method - pushing contrasts and metaphysical synthesis.
DETAILS FROM NATURE TO NATURE SYSTEM DETAILS
Hitchcock once said: "In life, people's faces, as a rule, do not reveal their se
cret thoughts and feelings. As a director, I have to convey the human condition
purely cinematic means. "
It is to this decision in principle, but in the theater, Stanislavski came when
offered '' method of physical actions "as the pinnacle of his system. The actors
do not express their emotions outwardly facial expressions and gestures. Feelin
gs are hidden inside, we realize them, by the way the actors act . The criterion
of quality is known to you the principle of "do not tell, do not show, make the
audience guess." It's a good challenge to the director and screenwriter. In the
television series, this problem has been removed. The hero appears and informs
chat:
- Damn it, I'm in trouble!
- Oh, God, I fell in love. I'm happy!
- Where is my purse? There passport, money and rights!
- What's wrong? On your face there. It's your friends ... all expressed in words
, actions minimized: rose, went, gone - this is an extreme action, step left - s
tep right ... But in more serious work, where we want to achieve full lifelikene
ss, actors need to seek action. The details of these activities, of course, play
an important role. Man sitting at the table, smiling affably. And only we can s
ee that at this time he pulled out his gun and shoot with the trigger guard.
Salieri admiringly listen to Mozart. But we see from his ring in a glass sprinkl
ed powder.
What did Charlie Chaplin recognizable and memorable? Bowler, cane and shoes six
sizes larger than a foot. It's all the details. Just like antennae. Details of t

he nature.
If the costume and appearance of the character is nothing personal, it does not
help us. But once found the exact detail, the actor grabbed it and made a part o
f nature.
My teacher Mikhail Romm stories shaft: once he was incredibly fast start filming
. Invited
the role of the famous actor Vanina, his game has always been the ultimate lifel
ikeness. Tomorrow have to play, and Vanin night calls Romm:
- I can not feel the character, nothing to catch the morning ... Romm desperatel
y waiting for shooting goes wrong. But even in the dressing room Vanin meets him
happy. Silently iron combs comb his sparse hair. Once again it combs. More ...
Romm waiting for what will happen next. A Vanin asks:
- Do not understand?
- No. What we need to understand?
- I found it!
- What?
- Hook. - And turns the comb.
- I wonder - Romm says, still not understanding.
- I'll brush your hair every time you need to solve a problem.
Detail, which found Vanin, in general, the work of the director. It should offer
some detail, for which the actor can be hooked.
Actors love to light up, turn the lighter in his hand, a pencil, a pen, key chai
n with keys - it helps them to "build up" - to go under the protection of the in
ner world. When there is a possibility to hide under the protection of the detai
ls, and at the right time to come out, it gives the effect of additional energy.
Details of the nature - it's part of a microclimate that everywhere surrounds t
he character. Anything can become a member. Too short trousers, tight or too wid
e jacket, a scarf around his neck ... For a woman - ideally sitting dress accent
uates her beauty.
Barbra Streisand, singing the title role in the film "The Mirror Has two sides,"
which she also directed the 7/8 of the film held in coats, baggy overalls, emph
asizing mercilessly unattractive heroine mahnuvshey hand on his appearance. And
in the final, she changed her hair, there was tightened so that scary: whether b
ra bursts, or skirt on the bottom. Of course, once it changed behavior. Costume
- a detail the nature, it is involved in the conflict. Because everything we do
is subordinated to a single goal - to develop conflicts.
A good actor is no limit to which it can reach to create a character. In the mov
ie "Lost in Siberia" Garik Sukachev put steel crowns on the teeth. And to play w
ith him a thief Volodya tore off all dental crowns and stayed with his toothless
mouth, where instead of sticking chipped teeth roots. And while the role built
on the fact that all the time laughing, showing rotten teeth. This was a key par
t of character.
Hitchcock said that Charles Laughton postponed filming until he found for his ch
aracter to dance a special gait. Which, incidentally, has not led Hitchcock deli
ghted. But it was Lawton key part.
In the movie "Leon" a wonderful actor Gary Oldman plays a psychopathic cop. In h
is ears all the time sticking small headphones. He goes dancing, moving his hand
in the air to the beat of the music audible only to him. When we hear music, it
turns out that it is Beethoven. It's a great character piece.
Robert De Niro has turned into an attraction detail his body. In the movie "ragi
ng bull" it after half of the film was shot, recovered 40 kg of becoming a profe
ssional boxer in squalid fatty nightclub owner. It's an amazing transformation the triumph of the truth of the body.
In the film "Call, open the door," Rolan Bykov played trumpet player, orchestra
unenviable operettas. And suddenly, in a moment of crisis heroine
the empty orchestra pit he plays her trumpet signals forgotten his childhood. Sc
ene excited not by words but trumpet: trumpet gave the actor an unusual pattern,
elegance and power. This item is the nature of which has become a key center of
the visual image of the scene.
But in the same film in another character, the famous violin virtuoso who plays

the Stradivarius, we did not come up with for this violin. And she was left in t
he hands of the subject colorless actor. We will discuss how to build parts for
the role that it has become a significant part of the film.
Then I thought better of it after the movie, regretted the missed opportunity. A
nd the next film literally from the moment the initial idea arose in the imagina
tion, started with the selection of components, helps to visually express the ch
aracters. I knew that I get a little money, and the film arose as a bright, mult
icolored. I thought it would be necessary to make every detail of play to turn t
he different parties. In addition, the central figure of the film "Shine, shine,
my star" thought theater director - a complex, controversial figure, like Meyer
hold. Perhaps too complex for the film, at least for me. I thought that if this
figure split into three parts? All parts are united by a common problem, and are
like the faces of a collective image of the artist. One piece - a painter, soli
d, well-balanced, this genius who lives in a world of his art, the artist Fedor
-derevensky. Another part - not too talented, but honestly, looking for new ways
, energetic theater director Iskremas. He stood in the main character. The third
part - the merchant of art. Man of the market, as we would now call. He is obse
ssed with survival - it Paschke illusionist. All three enemies are friends. They
quarrel and make peace, love each other and die one by one.
The idea to split one character into three parts, I came intuitively. He did not
know that one of the rules of the profession says: "Seek differences within the
community. Look for contrasts within
whole. The brighter these differences, the artistry of your movie, the less it w
ill be sketchy. In the drama look humor, comedy - a philosophy of life. "
It was the general considerations as everyone I have not invented a system of co
mponents that differ sharply from one another. These details outlining the chara
cters with the visual clarity. Iskremas appeared as an artist who makes art from
trash, out of nothing. He rode into town on a cart with a woven top. Puts this
at the top of the braided ass - he eye
called a tiny theater. Patchwork quilt - the curtain becomes an actor in his clo
ak. It Iskremas Shakespeare plays in the market.
His antagonist Pasha illusionist has its own microcosm of character parts. Film
projector, composed of the movie camera and a bicycle.
And a dumb movie that Pasha topical commentary voiced by the three different fil
ms, respectively wishes of different authorities.
The third character - the artist Fyodor - the world surrounded by rainbows of ho
pe. He paints the rainbows apples in the garden, painting them on the walls of h
is house.
When it's packed, I went to fellow writers, and we continued to work. But due to
the fact that none of us knew then shaping principle of three-act of the confli
ct, I lost the most important part, which was practically invented and ready to
shoot. It seems that without the ideas too much.
You see, plenty of ideas for the film - it's nothing. Excessive number of ideas
- it is even bad. Important Only those ideas that are well-developed in the conf
lict and help the integrity of the film. What would you have thought that one so
I think hear Hitchcock, the master of details and integrity maniac. He estimate
s his film "Saboteur", "He was full of ideas, but they will not make a single or
der; It was not produced a proper selection. Everything had to be sorted and edi
ted before the shooting. The film proved that an excess of ideas, no matter how
good they may be in themselves, does not guarantee good luck. Each of them shoul
d be carefully file, always keeping in mind the whole. "
For the protagonist Iskremasa was invented and manufactured a huge theater curta
in. He drove it into the cart, to set up on the stage, when he creates his own t
heater. I imagined a sort of ant art that everywhere dragging the symbol of high
ideals and great challenges. Everything has been thought out. Before hoisting t
he culmination of a curtain in the middle of the ruined church where Iskremas fi
nally created his own theater. Although the performance was thwarted enemies Isk
remasa curtain saved the life: he covered all the enemies and helped win the her
o. This episode of the third act was withdrawn. But the first two acts have been
failures. Somehow unnoticed for me in every episode, where the curtain was plan

ned, it was not enough time. He was huge, trouble with him was always a lot. It
had to withdraw the assembly, that is, with a few points. A particular advantage
for the episode in the process of it was not. So we dragged the curtain from th
e scene in an episode, but never really took off, and the metaphor is not got em
otional development. She did not understand anybody. So, some curtain fell one s
troke and covered bandits. Nothing but the adventure stunt, it was not. I did no
t even realize that he had lost an important detail-metaphor.
The conclusion is simple: if the item has a role in the conflict, it is necessar
y to develop as a character in three acts - a clear exposition interesting compl
ication in the second act, the culmination of a sudden in the third act.
In the first act of the item can only give a characterization of the character.
It is the task of the first act. Deeper insight into the nature of the item can
help in the second and third acts.
Cool start to the details of the first act of a masterpiece of Hitchcock's "Rear
Window." We see a sleepy courtyard and immediately after perspiring face of the
hero (James Stewart). His leg in plaster near a broken camera on the table and
pictures of racing and car accidents on the wall. Once everything is clear: the
hero - a steep photojournalist lover to go into hell, he broke his leg in the re
portage. It does not say a single word.
The good parts are not necessarily apparent. They dissolve in the character, the
viewer sees them as a package. They are like salt in food. Insufficient salting
, and the food is tasteless. At most times - everything was delicious, and we do
not feel the salt.
But a good director and a writer never leave without character parts. The corset
, which tightened the pregnant Olga in Chekhov's story "Name Day" - it defines t
he entire plastic behavior. Therefore Chekhov in the first sentence is the place
for it. We have quoted this brilliant simplicity, capacity and structural clari
ty of the phrase.
In "Ionych" twenty years of life Startseva marked development of one detail - it
fullness, growing wide. How did the story in the first act? At the end of the d
ay and evening of fun at Turkins young Elders is home to the village. '' After t
en miles and then
going to bed, he felt not the slightest fatigue, but on the contrary, it seemed
to him that he was happy to have another twenty. "And in the final," Elders ...
more stout, ozhirel, breathing heavily, and already walks, throwing head back. "
But this is not enough, and Chekhov offers small world around the hero. System c
omponents. "When he was a plump, red, rides in a troika with bells and Panteleim
on, too puffy and red, with a fleshy neck, sitting on the box, extending straigh
t forward, like wood, hands and shouts counter" Prrava hold "- the picture It is
impressive and it seems that people are not coming, and the pagan god ... proba
bly because his throat swim fat, his voice changed, became thin and sharp. His c
haracter has also changed: it became difficult, irritable. "
The task assigned to the director and the actor exhaustively. It is the nature o
f the Stanislavsky method. All told through physical actions.
Details of the hero of another masterpiece, "Man in a Case" is also collected in
the "item-based system." It is a microcosm that separates Belikov from the outs
ide world:
"He was remarkable for the fact that it is always, even in good weather, out in
galoshes and an umbrella and always warm padded coat. And he had an umbrella in
the bag, and the clock in a case of gray suede, and when pulled out a pocketknif
e to sharpen a pencil, and the knife he had in cheholchike;
and his face seemed, too, was in the bag, as he always hid it in a raised collar
. He wore sunglasses, jersey, wool ears laid and when he got into the cab, then
ordered to raise the top. In short, this
the person has been a steady and irresistible desire to surround himself with a
shell, create yourself, so to say, a case that would protect it from outside inf
luences. "
"Bedroom at Belikov was a little like a drawer, the bed was a canopy. Going to b
ed, he hid his head; it was hot and stuffy in the closed shutters knocked the wi
nd roared in the stove; sighs could be heard from the kitchen, ominous sighs ...

And he was terribly under the covers "." ... Now, as he lay in his coffin, his e
xpression was mild,
pleasant, even cheerful, as if he was glad that finally put him in a box, from w
hich he will never be released. Yes, he has reached his ideal! And as if to hono
r him during the funeral was overcast, rainy weather, and we were all in galoshe
s and umbrellas. "
Details depict character and in the final to lift the character of metaphor, to
the archetype. This is clearly because the details are in the system, supporting
each other.
ITEM at the junction of reality and fantasy
Well thought convincing detail makes any fantasy turns into reality very strange
phantasmagoria.
Today, more and more dreams characters enter the real world. The new technique o
f filming stunts can express any fantasy - give the idea and technology will mak
e it real. Any miracle looks more convincing when it is expressed in terms of th
e real item.
One of the first works with a fantastic transformation of the real parts - a "No
se" by Gogol. Nose jumped off the face of Major Kovalev and lived separate lives
, and even the importance of the general. And it happened in daily dull Petersbu
rg beginning of the last century. Detail convinces this phantasmagoria.
Students offer history, connecting through part reality and fantasy.
ANKE. SNAKE OF BOTTLE
Nicky - a boy of five years. Houses in the dining room closet is the father brou
ght a bottle of vodka Chinese. Inside it curled snake preserved in alcohol. Nick
y seems that the snake quietly moves, especially in the evenings. Today's parent
s go to the movies. Nicky to sleep.
- Go to sleep, and the snake crawl - warns father.
Try to fall asleep. Nicky closed blanket with his head, closed his eyes. Suddenl
y he hears in the dining room with a crash fell and broke a bottle. The snake cr
eeps into the room. She hisses and grows. Here she is in bed with the
crawled under the blanket, he threw the bed ring. Nicky feels her weight and try
ing not to move. The snake crawling on a blanket right to face Nicky. He does no
t stand up and grabs her by the blanket. Snake loud meows - Nicky holding a cat.
Sven. STONE SPEAR
In the village cemetery is destroyed chapel. Gardener lubricate cement cracked s
tone relief on the tombstone: Medieval knight with a spear at the ready to prote
ct the gravestone.
This chapel must carry, and the mayor himself is when the roller bulldozer is go
ing to destroy the ramshackle building.
Gardener protests: "There's a genius buried past. His soul is alive, and you wil
l kill her if broken down chapel. "
Bulldozer varies, but the mayor himself sits behind the wheel. Bulldozer crashes
into the building. All in the dust. Creek, Silence. The dust settles. Stone spe
ar sticking out perpendicular to the terrain. It broke the glass and pierced the
mayor directly in the heart.
Janek. BAND KAMIKAZE
Gunnar has a girlfriend and a rival - a scientist Hayzelberg. The evening, which
Gunnar wanted to spend with his girlfriend, Hayzelberg destroys. He invited the
girl to a concert. Gunnar would rather die than admit it.
Gunnar resolutely goes for a couple. He took from his pocket and ties a white ha
ndkerchief on his forehead, like a bandage. In the middle of a scarf - red sun a sign of suicide. Gunnar runs, jumps and flies low over the asphalt like a roc
ket, "ground-to-earth." Hayzelberg running in panic
from him, but Gunnar catches and slams into him like a kamikaze. Explosion.Gunna
r confronts Hayzelberga, clenching his fists. Now begins the usual fight.
Miko. Magic potion
Two brothers. One of five, another seven years. Children read comics "Asterix".
Senior playing with friends, they fight as a comic book hero. Junior also wants
to play. To get rid of him, the elder prepares him a magic drink strength. In a
bowl forced shaving cream, shampoo, toothpaste, lotion. Stir gave - drink and be

come
invincible. Kid smears drink cat - and that for a moment into a snarling tiger.
He smears drink stone lion on the fence, and he growls - a real magic potion. Ki
d licking tongue - and lo! He feels a surge of strength - punches through the tr
ees, and they fall back up. But the miracle quickly. Toddler tears. He wakes up
happy and I was the hero!
These stories - improvisation. I keep them as they are born. The main thing is t
hat the details of visual, clear and transform reality into fantasy. You can see
excellent examples of this work in a good horror movie, or "fantasy."
Plot details
Truffaut remarked about Hitchcock's film "Notorious": "It can serve as a model d
esign, in terms of how to achieve the maximum effect with a minimum of elements.
All scenes with suspense revolves around two items - the key and wine bottles w
ith uranium. "
These items - the two main parts of the film. We'll talk about bottled separatel
y. A key - do item, which in the story there is a whole part.
First, it is determined that the main character desperately need the key to the
wine cellar. In this cellar stored the stolen uranium samples. used in the manuf
acture of an atomic bomb. Key - an information bit. We know that information is
all the more important for the viewer, the more difficult to get it. Therefore,
AFIS (Ingrid Bergman), assistant FBI agent Devlin (Cary Grant), difficulty and r
isk of stealing the key from her husband, making us worried. Then, in one of the
most spectacular scenes of the film Alice sends the key to his friend and accom
plice Devlin, agent of the FBI.
In a scene crowded holiday camera starts its way down to the overall plan from t
he ceiling of the great hall. where guests gathered for a reception. She slowly
descends to the clamped fist Alicia. Ingrid Bergman decompresses fist, and for a
moment at the top of the screen there is a key. Hitchcock said of the plan: "He
re we are, as usual, have replaced dialogue language of the camera. In the" noto
riety "is a movement of the camera like a sentence expressing the following idea
:" The enormous
tion living room of the house is arranged reception, but here comes the drama, a
bout which no one suspected, and in the heart of the mysterious dramatic events
- a small thing, that this is the key. "
It made clear. Key strained all the action. It is the task of the details of the
plot: they attach developments clarity and conciseness.
This key has a long history in the film. Alicia's husband, a German spy, after s
ome time, discovers the loss of the key. He least suspects his wife. But at nigh
t, when they sleep together in the matrimonial bedroom, the key again is in your
keychain, and her husband was horrified to realize: the wife he loves, an Ameri
can spy.
Working with detail - the basis of the first student film at our film school. Fo
r 5-7 minutes filmmaker tells story short story without words. One of these work
s "key" used as a detail of the plot key.
The guy comes to girlfriend left to pick up the items and give the key. But a fr
iend took the key, it locks the door and throws the key into the box. She wants
immediate love, hoping to keep the guy. The second key is hanging around her nec
k. The guy is struggling with her for the key. She puts the key in his mouth - k
iss and seek. Man tries to remove the key, then she swallows it. Man fighting wi
th his girlfriend, and imperceptibly passes into the arms of a fight.
Meanwhile, the first thrown into the street a key selects a new girlfriend Man.
She opens the door key into the most unsuitable
rently. The key item is the story helped clear all the turning points of the sto
ry of three acts.
Detail of the plot does not need any special features to impress. The importance
they attached to the role they have to play in the story. With their help, shar
ply outlines the turning points of history. Details of the plot should have a st
ory, it is involved in the conflict. In short, it behaves like a character. And
so it is best for the development of a three-act. So they behave in literate fil
ms - develop their stories in three acts.

Here's a rundown part adventure film "Normal Hero" directed by Steven Friersa. A
successful journalist Gale (Geena Davis) , the prize was awarded - "Golden Micr
ophone". The first act - the exposure details. Gail gets a prize, flying home wi
th him, but the plane gets into an accident. Tramp Barney (Dustin Hoffman) makes
a journalist from death - while stealing "Golden Microphone".
The second act the part. The journalist believes that it has saved other people.
She's in love with her savior, and does not know what lzhespasitel appropriated
feat vagabond. Moreover, it is certain that the tramp blackmails her savior. Sh
e goes to the stroller to expose him, but in his lair, she finds the "Golden Mic
rophone".
The third act. The catastrophe of love. Gale has something to think about, looki
ng at his prize. Without saying a word, "Golden Microphone" turns people's ideas
, creating unexpected and instant turns into action - in other words, plays an i
mportant role.
In a good film with the actors playing parts on an equal footing, helping them s
elflessly and silently. For example, in the movie "Someone flew over the Cuckoo'
s Nest" is an episode which employs six actors and a cigarette. For each actor i
s written concise history of the conflict in three
act.The same three-act story invented for cigarettes. In the beginning the impor
tance of cigarette determined here and now. Patients deprived of cigarettes, but
polutyuremnoy hospital cigarettes are very important, they replace the sick mon
ey. The casino card game Mack Murphy won in patients with their cigarettes. Chad
wick patient without success demands that he returned his cigarette. A patient H
arding was more lucky in the game - he has a cigarette. Nurse gives Harding poin
tedly light. And he charged up with drags large, full-screen cigarette. This exh
ibition of cigarettes. Everyone hates Harding and his cigarette at the same time
with him.
The second act. Patients knock a cigarette out of his hands Harding. The cigaret
te is not sticking out from the mouth of the importance. It is flying through th
e air from one patient to another. Patients play it, teasing Mr. Harding. Tensio
n builds. This second act of cigarettes - a complication of problems. All relati
onships through the cigarette escalate.
Suddenly cigarette disappears. None of the patients did not understand where she
is. But we know that she hid in the folds pajamas one patient. And there is smo
ldering, burning the way to the body of the patient. This suspense. What will ha
ppen? Suddenly the patient with wild cries jumps up and jumping, waving his arms
. Medics think he fit riot and throw at him. But this cigarette burned a hole an
d continues to burn body raging patient. This is a disaster of the third act.
All other stories are told with the same increase of three-act drama, but they a
re the actors. As a result, seven short stories are woven into a huge ball wildl
y promoted disaster. Detail played in the build-up stresses the important role t
hat is no less than any living actor.
Detail can play a key role in the plot of the episode, and can be the basis of t
he whole plot. The whole story is associated with it. Typically, such a componen
t acts as axial character, t. E. A character who is in the middle of the action,
on the axis of history. Details of how to provoke the hero on action to achieve
the goal.
That job gudgeon plot student writers and directors. We had to come up with the
story one gudgeon, so that the characters loved or hated item, grew because of h
er happy or unhappy. To help develop the detail of the history of emotions.
THOMAS
Rocking horse
Turn of the Century. Demi seven years. Very thick, big boy, probably weighs fift
y kilograms. Whenever he sees a wooden bench toys rocking horse, his heart stops
. He dreams that will jump on it like a cowboy, and a red-haired girl, a neighbo
r admire them. But his parents were poor - who else buys a horse. It is no more.
Demi so upset that night crying. In the morning, he sees a horse in front of hi
s bed. Mom bought her for Christmas. Demi calls friends. They play with a horse.
Demi jumps, jumps on her and shouts of joy. And suddenly the horse breaks into
pieces - Demi too thick, and a horse was poorly done. Fragments of horses thrown

into the furnace. Demi makes a face only a horse. Sad plays with her one in the
yard a pile of firewood. The other horses he will not.
A neighbor, one-armed soldiers ready to help make the new Demi horse. In the bas
ement of the house Demi enthusiasm it does handicraft. It lasts a month. And Dem
i thinner. The horse came out strong, much better than the old. Demi calling fri
ends, neighbors. But they are no longer interesting horse. Only the red-haired g
irl surprised: "Do you own it? Would you like to show it on the DIY competition
at the fair? I'll carry to a homemade doll. My friend Amy bear cake that she bak
ed. "
Best homemade win prizes at the fair. And the red-haired girl had, and her frien
d Amy. For almost all the prizes handed out, and Demi got nothing. There was the
latest - the main prize. Demi realized that his horse did not like the jury. Bu
t the prize went to Demi. His brightly painted horse liked the most. What gift w
ill receive Demi? It opens the curtain. And on stage derive little ponies live.
Demi gasped with joy. In his
He dreams enlivened wooden horse. And suddenly, his dream turned into a real hor
se. Is it possible to find the boy happier?
All the action of the story through the item develops from hope to despair, from
despair to hope.
Sven
Guarneri violin
Young violinist Clemence talented, but poor. He has enough money only for the ch
eapest violin, so he arranges the orchestra in front of the note and just mental
ly playing during the concert. But odnazh
dy he was lucky - he can come up with a famous orchestra, and this will be his s
tart. The conductor said: "The terrible sound of your violin. Find a good violin
, and you'll be playing with my orchestra. "
Clemence in despair. Though robbed banks. Happiness goes straight from the hands
. His teacher, an old professor, has Guarneri violin. Professor shows old violin
. He takes it out of the shabby case, it expensive tool draws less attention. Pr
ofessor Clemence listens and gives him a violin. The orchestra are all amazed: C
lemence Guarneri violin playing fantastic.
But during the final rehearsal violin stolen. Clemence heartbroken. He is, as be
fore, arranges the notes to the orchestra. Instead, he will play his old profess
or. Professor admits:
- I gave you not Guarneri violin, and a good violin. You need such a violin, to
believe in themselves. And you believed. That you played better, not the violin.
Here it is - a real Guarneri. And now I can give it to you.
At this time, Clemence received this Guarneri. Professor deeply moved watching h
im play from behind the scenes.
Janek
SKIING
The boy loves to play with small plastic figures. He dreams of a castle made of
plastic. And on New Year's parents give him a long box. On the cover of painted
walls and towers of the castle. But, alas, in the box - do not lock, and shorter
skis. The father wants the son started to ski.
The boy hates skiing. He wants to play with toy soldiers, the Indians, with plas
tic knights. Instead, the father forces his son to ski. He goes away with him in
to the woods for ten kilometers. The boy whimpers. He is angry at his father. Su
ddenly father falls from the mountain and breaks his leg. The boy has to run on
skis to bring the doctor. He starts his way clumsily. But this time, it is very
necessary, he must save his father, and he finished his career as a skilled athl
ete. It was the first victory of his life. Two years later he became the champio
n of Norway.
MICHAELA
Hated TV
Heather Rothman forty. It is aesthetic, but nervous. In love dominates, she does
not want children. She teaches at the school. Her lover for eighteen years her
junior. Suzy calls him "my krolichek." It does not take him only one thing: his
love for the TV. Suzy intellectual. It lights up when the accused TV:

- It is sunset of culture!
But "krolichek" finds a young friend and Susie left alone with the hated televis
ion, which left "krolichek." Before the screen she tries to forget his lonelines
s. TV becomes her secret passion. She watches everything: movies, soap operas an
d children's programs. She especially likes competitions. They brought her to or
gasm. But the more she wallows in a secret depravity, the more passionately and
publicly accuses scolds TV: "Nearing sunset culture!"
Ralph (48 years), the editor of TV, Susie decides to invite the transfer. Let ex
press charges in the face of his enemy. Susie does not know that on television i
t will look a laughing stock. During her usual fiery speech in the studio behind
her two clowns are parodied her pantomime. The audience in the studio will laug
h at clowns. A screen will they laugh at the words Suzy.
Before transmitting Suzy confused. Does it have the right to speak to millions o
f viewers that in which she no longer believes? She was afraid to tear off the p
rotective mask an intellectual. It is in the center of a huge machine entertainm
ent. The modest home TV if multiplied into dozens of monitors. It is pushed by t
he camera. Suzy totally confused. Suddenly, she says, she loved the TV. She does
not understand why the audience laugh at her confession. Susie tries to convinc
e them that she was telling the truth. She admits absolutely frank. But the audi
ence laugh even more. Susie
He does not know what they are laughing at the clowns. She thinks that the audie
nce laugh at her. She convinces the audience with the same fervor with which pre
viously vilified TV:
- Do not you understand? TV was my only friend! He saves me not only by loneline
ss, he saves my life! None of my real friends did not help me in my misery. A TV
every morning gives me new faith in life! These distant people on the screen we
re my top friends.
The hardware editor Ralph surprised. Susie says is not what was intended.
- Stop showing clowns! Do not laugh at this woman! - He asks.
Directed interrupts him:
- Do not bother. The transfer is fine ... The audience watching television laugh
ing.
And others, intellectuals, friends Susie at home commenting on the transfer:
- See how cleverly the Suzy ridicules TV. As she damn ironic. And artistic. Brav
o, Susie!
But Suzy does not know that she was the heroine. She is in despair. She feels th
at she has lost everything. She exposed herself and looks ridiculous old woman.
Coming out of the picture, she is crying. Ralph finds her in a dark corner of th
e studio. He feels guilty and comforts Suzy:
- You're a courageous woman. You are not afraid to tell the truth about himself.
And you nothing could stop. I am proud of you. I'd wanted to go through life wi
th such a strong and beautiful friend.
Ralph, too lonely, he is a widower. And who knows, maybe he and Susie have found
each other?
If we look at the scheme of the vicissitudes and obstacles, we see that
in the center of the struggle themes and countertheme detail that turns into a p
art-system and threatens the destruction of her personality Susie.
MacGuffin - ABSURD IN THE CENTER OF LOGIC
Hitchcock's first deliberately drew attention to the fact that some of the key d
etails of the plot have a special, not amenable to rational explanation power of
influence. It's the details that help the characters find a special force, the
details of which can be saved from imminent danger or threatened what some terri
ble troubles. The struggle for such a detail is especially intense. Spectators w
orry so much, they want to win the hero for whom worry that they do not
to do with how reasonable this detail: only the hero escaped won punish enemies,
achieved happiness.
Here's what he says about this in an interview with Hitchcock, Franois Truffaut.
Hitchcock. "It makes no sense to try to understand the nature of MacGuffin logic
al way, it is not subject to logic. The value has only one thing: that the plans
, documents or secrets in the film for the characters seemed extremely important

. But for me, the narrator, they do not represent any interest.
You may be interested to know, where did this word. This, in all probability, th
e Scottish name of a joke. On the train ride two people. One asks: "What is ther
e on the luggage rack?" The second replies, "Oh, it's MacGuffin." - "And what is
a MacGuffin?" - "This is a device for catching mountain lions in the Highlands.
" - "But in the Highlands not found the lions!" - "Well, then, and there is no M
acGuffin." So, as you can see, MacGuffin - is, in essence, nothing.
Truffaut. That's funny. Wonderful idea.
Hitchcock. Equally amusing and that, when I first start working with a particula
r writer, he became downright obsessed MacGuffin. And although I do not get tire
d of repeating that all this is absolutely unimportant, he diligently puts the p
roject in the project so that all thoroughly razobyasnit.
Truffaut. In other words, the MacGuffin is no need to be an important or serious
, and even preferable, he turned to something trivial, even absurd, like a popul
ar tune from "The Lady Vanishes".
Hitchcock. Exactly.In the "39 steps" MacGuffin - mechanical formula for the cons
truction of an aircraft engine. Instead of having to write it down on paper, spi
es "recorded" in her mind of Mr. Memory, in such a way to take this secret from
the country.
Truffaut. If I understand you correctly, whenever it is at stake, human life, ac
cording to the rules of drama, concern for her is to achieve such a voltage that
a MacGuffin simply forget. But this strategy is very risky, is not it? The audi
ence in fact can not be satisfied with outcome, ie MacGuffin? However, I noticed
that you did not put it in the end, and somewhere on the way to it, when the ex
pectation of outcome is not so much condensed.
Hitchcock. All this is true, but the main thing that I have learned for myself t
hat the MacGuffin - is nothing. In this I am convinced, but to prove it to other
practices
matically fails. My best - but for me it is empty, even the most insignificant a
nd absurd MacGuffin - the one that we used in the movie "North by Northwest". Th
is. As you remember, the spy movie and the main issue on which there had to answ
er the question - what is the hunt for spies? In Chicago airport CIA man explain
s the situation to Cary Grant, who in disbelief turns to standing next, referrin
g to James Mason: "What does he do?" And the secret service: '' You can say, imp
ort and export issues. "-" But what he sells? "-" state secrets. "You see, here
MacGuffin in its purest expression - it does not represent absolutely nothing!
Look closely at the creative laboratory Hitchcock. As he developed the idea of ?
?MacGuffin.
"When I started working on the script for" disrepute "Ben Hecht, we started to s
earch MacGuffin, and, as always, followed by trial and error, rushing from side
to side. The main idea we decided immediately. Ingrid Bergman intended role of t
he heroine Cary Grant - FBI, who accompanies her to Latin America, where it is b
eing implemented in Nazi spy nest to find their targets. At first we thought to
put into film government officials and police and groups of German immigrants, e
ngaged in secret camps in Latin America the creation of the army. But we have lo
st the prospect of what will follow as a result of the formation of such an army
. And we abandoned this idea in favor of the MacGuffin that was simpler, but mor
e specifically: uranium hidden in wine bottles.
The producer asks: "For God's sake, explain what it all means?"
I say: "This uranium is such a thing, of trying to make an atomic bomb!"
And then he asked: "What is the atomic bomb?"
As you remember, in the yard in 1944 was second to Hiroshima remained a year.
The producer looked at it with skepticism, it seemed an absurd idea of ??the ato
mic bomb as the basis for the plot. I replied in the spirit that it was not the
basis of the story, but only a MacGuffin, and that you should not give it too mu
ch importance.
Finally, I made my apology for the words: "Listen, if you do not like uranium, l
et it be industrial diamonds, which are needed for the treatment of Germans weap
onry." He added that if it were not "military" plot could tighten inTrig around the theft of diamonds, so that does not care about what will be inte

rested in character ...

"Notorious" - it's just a love story of a man and a woman who is forced out of t
he debt to go to bed the other person and even marry him. That's what the film.
But I did not manage to convince the producers, and in a few weeks, the project
was sold to the studio "RKO". In other words, Ingrid Bergman, Cary Grant, screen
writer Ben Hecht and myself - we all have been sold in a single package. This mi
stake cost them dearly, because the film cost two million dollars, and the produ
cers made a profit of eight million. "
I, by the way, was in a similar position: wrote the script, where the center of
a love triangle. My wife unfaithful to her husband, betrays him. And he is helpl
ess before the danger and enemies. But when his wife, realizing their mistake, r
eturned, then together with her husband they defeat all the enemies. That is, a
film about the values ??of family, friendship and love between husband and wife
in the family. This story was MacGuffin, any law that supported her husband - a
Duma deputy. It was not clear, and no matter what the law is. It was all about l
ove, betrayal and forgiveness. But bankers that financed the films, poorly orien
ted in the value of love. For them, this was an important political nonsense, an
d they said:
"No, there's a lot of politics, we want something porazvlekatelnee."
This political MacGuffin can be easily replaced on anything: a huge tanker barga
in or fight for a controlling stake in an aluminum plant. Anything up to the sec
rets of the Amber Room.
A professional look at the script allows us to build a hierarchy of values: To d
etermine that the script in any case can not be changed, and that can be rotated
at will. Unfortunately, this professional clarity, many do not possess. As a ru
le, each scenario can be improved or changed without deterioration, if you see t
he structure. And do not change a core idea.
Look at the MacGuffin one of the most famous American movie "Casablanca." Wonder
film a cult film. Fifty years, he does not lose popularity and seems to never l
ose it. One of the ten best films of all time, according to many experts. An abs
olute masterpiece, brands of American cinema: great actors, stunning commercial
success, the creators of amazing workmanship. Everything in this film is of the
highest quality. And of course, this story is not without MacGuffin.
Casablanca - a point between heaven and hell. From Hell Europe, covered the fire
of war and the horrors of fascism, people run to paradise - free America. To ge
t it, you need a visa. Thousands of refugees from all over Europe with envy look
ing at the sky where the plane disappeared, carrying away a handful of lucky wit
h visas. Visas are bought and sold, for them give huge bribes. Beautiful women a
re willing to sell their bodies for a visa. For visa killed. With this begins th
e film.
Two German carrier, pulling a visa from France, killed and kidnapped a visa. Thi
s special visa supervision. Whoever owns this visa, already has one foot in heav
en, and no one will come to his other foot, because the visa can not be undone.
So it is said in the beginning.
Specifically, to hunt down the murderer of couriers from Berlin came the rank of
major. This killer stalk and catch, but he managed to convey these visas hero m
ovie Rick (Humphrey Bogart). And now the hero has a value that wants to get his
old love Ilsa (Ingrid Bergman).
Transit visa - this is the MacGuffin. Laconic detail in the center of all the va
rious events of the film. A film - a love story and adventure, and film music, a
nd a detective. All the skills of professionals compressed into a two-hour enter
tainment of the highest quality. The item must also be of the highest quality.
But look closely to these visas. They have given the French authorities, and was
signed by General de Gaulle. That is a very important sign confirming the impor
tance of the document. So the fascists in the country, finding
scheysya under their control, seeking the visa signed by the head of the Resista
nce? This is complete nonsense.All the same, as if in Russia during the war, sen
t a visa, signed by Hitler. Such a person would be immediately arrested. He coul
d not walk and shake a visa. And to go with her out of the country will not be a
ble to.

Why is this nonsense is in the center of the beautiful movie? The answer is simp
le - because it is not nonsense. It MacGuffin. He made the best rules, the most
effective way. MacGuffin - a thing that everyone wants to have, and when you get
it, it gives you strength. Everything. Nothing else matters.
Hitchcock knew it better than others and before others did MacGuffin catalyst fo
r any adventure story.
No matter what visa is absurd. What is important is that they can be, roughly sp
eaking, to sell the audience. Because viewers do not want to argue, they want to
believe. And if you give them a reason to worry and worry about the fate of the
characters, they are ready to believe anything.
We saw very beginning, because of these two people killed visas. The police shak
e up the whole city, important Germans came specially from Berlin. And the two m
ain characters - Rick and Ugarte - seriously concerned about these visas, and we
understand that, those people know something that is important in the world of
the film. How can we doubt the importance of these visas? Nobody doubts. All the
hundreds of millions of viewers, and perhaps more than a billion, and they who
have seen the film for the past sixty years, all ate it with pleasure.
That's what the MacGuffin.
This is great, expertly done, with the understanding that the audience want to b
elieve and enjoy the movie. And it really works. It makes Ilsa and Rick go to be
g, plead, threaten, and a declaration of love. And Rick makes risk to rescue his
beloved, to sacrifice themselves, to come up with intrigue, kill enemies, and c
hange their lives.
Anything can be a MacGuffin. But the best part fulfills this role. And more ofte
n MacGuffin - a detail.
Hitchcock, of course, was not the first who thought of it. Long before the idea
expressed Andersen - author of ingenious details.
Unhappy tramp rainy night knocking on the door of the royal palace. She asks the
night, says that she is a princess. How to test it? The Queen did not ask about
the ancestors of the princess, do not check the knowledge of etiquette. She put
s her little pea under the quilts. And this item until the morning does not slee
p tormented girl. In the morning, the pea
fabulously turns life miserable tramp. It will be the queen - pea has proven tha
t she is a real princess, sensitive and gentle, as befits the aristocrat of the
royal family.
Pea - MacGuffin.
Remember slipper Cinderella lost when it runs with the ball. Without it, Cindere
lla and all its charms would have disappeared from the memory of the prince. A d
etail of the event retains the sensual aroma. Event after the item smells like p
erfume "here and now". Slipper - a great MacGuffin. And it is absolutely absurd.
All that gave Cinderella fairy disappeared at 12 o'clock at night. The coach ha
s again become a pumpkin, the horses - mice postillion - a rat. A shoe somehow r
emained. And we have it does not bother. Why is that?Because we want to become a
Cinderella happy. It is more important to us than some logical stuff.
But in the history of the drama is an example MacGuffin and abruptly. Naturally,
we will find it in Shakespeare - a genius who best understand the poetry and dr
ama of its capabilities.
Juliet stuck in a deadlock. She is no salvation. She has no way out. Her secret
husband banished from the city for the murder of her brother. My father says tha
t Juliet should marry Count Paris - the long-promised her fiance. She can not be
tray his love, to commit a mortal sin dvoemuzhestva! The full paragraph. And no
one to help the poor girl. No, there is a man - a monk Lorenzo. He had once save
d her love, secretly married Romeo. He's a smart, kind, he knows everything. We
believe him. Now he offers another way out of the impasse. Juliet should take a
certain drug. At night it turns into a kind of Juliet Cold-corpse. She stopped b
reathing, it will be the floor
of lifeless. During this time, she was buried. A day later, she matter-of-factly
, and will be happy to come to life.
You've heard a damn ridiculous than this? What is the cure for this? A person ca
n not grow cold as a corpse, and did not breathe day. Absurd. Of course, absurd

because it MacGuffin. We so want to be happy with Juliet Romeo that are ready to
believe anything.
I can imagine how worried and wept over it MacGuffin Shakespeare's contemporarie
s. But as the century. On the screens out the film "Romeo and Juliet", then anot
her. And one becomes a cult, collects millions of adoring fans, gaining recognit
ion and awards.
George Bernard Shaw said of the great Shakespeare: "When something seems illogic
al to you, forget about logic, listen to music."
MacGuffin is not a settlement. This insight, poetry, drama and music.
By the way, about the absurd.
All our talk about the structure and construction of parts may seem overly ratio
nal. But what is said about it the most, it would seem rational director Alfred
Hitchcock in an interview with Truffaut.
Truffaut. Obviously, the absurd fantasy - a key component of your formula for cr
eating the film.
Hitchcock. The fact that the absurd - my credo !! I wanted to make a long trevel
ling dialogue with Cary Grant, one of the factory workers as they walk along the
conveyor. They can talk, say, about the masters. Next to them is the assembly o
f cars, piece by piece. Finally, the "Ford", born in the eyes of our characters
and our audience, ready to get off the line. They look at him and can not help a
dmiring surprise, opened the door - and the body falls out!
Truffaut. Brilliant idea!
Hitchcock. Where did the body? Certainly not out of the car, because they and we
are with you seen how she was going to literally from the first bolt! The corps
e falls out of nowhere! You see ?! And this may be the body of the master, which
they reasoned.
Truffaut. Wonderful example of absolute nothingness! Why did you break up with t
his plan? Is it because that the episode would extend the picture?
Hitchcock. It was not the length of the film. The trouble is that he did not fit
into the story. The scene can be arbitrarily incredible in itself, but it must
fit into the context! "
The thing, you see, is that any absurdity, any fantasy that comes into your head
, well-developed, making edible for the viewer. Everything has to be delicious f
ood for the development of emotions. This is a craft and storyteller.
ITEM-CHARACTER
There are parts that are just as important as the actors themselves. Items that
have major roles in the film. For these parts / write scripts. They turn into ar
chetypes.
For example, the Spanish director Luis Berlanga has a well-known film "Doll." In
this film, a dentist before seen enough in the rotten mouths of their clients,
that living woman call him only disgust. He writes in the mail huge doll, as a m
an. Very attractive, full of soft plastic with a rubber mouth, which can be open
ed by squeezing her cheeks. And in the mouth, imagine a single tooth. Doctor buy
s this doll wedding dress and marry her. The ritual of the wedding, however, is
played in the home of a doctor. But it is in full: d'oranzh veil on her head wit
h a veil of the bride, the wedding ring on her finger, Mendelssohn on the gramop
hone. Doctor himself in a tuxedo with a butterfly, though without trousers. But
this is the only omission. Then comes the wedding night. Details are fuzzy, but
the overall impression - happy young doctor. Dancing with her, talking, carries
her around the city in a car, is jealous of passers-by. But then the neighbors s
py working in the window of a strange couple and in the absence of Dr. steal the
doll. And she, of course, subject to a working limp. When they discover that th
e doll has all what is believed to be a woman, their joy knows no bounds. They g
et drunk and take turns raping the doll. And then shaved
cribe her yard. The doctor finds it in a landfill disgraced. He could not forgiv
e her betrayal. He sits down with her in the car and fired into the Seine. The m
achine and the doctor there remain under water, and after a while the doll pops
up and floats on the river.
Such a role would envy the actress. It is cold, and around the raging passions.
All won back story and other characters.

"Doll" - is not an exotic exception. In the world literature there is an example

, when the item is, the character is at the center of one of the most touching l
ove stories. We have already touched on it - it's "The Overcoat" by Gogol. For u
s it is interesting that the role of the overcoat is designed with great detail.
This item is, the character. We have dismantled the dramatic twists and turns t
hat role. Let us now look at the role of design. This first-class, versatile des
ign. It seems that it had built a caring director. No, I just did this genius.
At the beginning of the story in the life of the protagonist Akaky appears absol
utely hopeless situation is dramatic. The old cloak completely worn out. The mic
roclimate Akaky terrible -one humiliated, shivering and freezing. Antagonist - "
Northern cold" mercilessly attacked.
"All of salvation is to run across in toschenkoy overcoat as soon as possible fi
ve or six streets and then trodden underfoot in the Swiss properly until thaw so
all zamerznuvshie road abilities and talents to the job being sent".
Initial event stated. Develops the dramatic situation of the protagonist.
It twists and turns of "misfortune"
"Akaky some time began to feel that it somehow became especially strong bake to
a turn in the back and shoulder, despite the fact that he tried to cross as soon
as possible a legal space. He thought, finally, there is not any sin in his ove
rcoat. After considering it well at home, he discovered that in two or three pla
ces, namely on the back and shoulders, she did exactly serpyanka: cloth before E
asterly that came through, and the lining. "
Note that an old friend is also degrading the hero. This additional alternative
factor.
"You must know that the overcoat Akaky, too, served as a subject of ridicule off
icials; She even took away from the noble name of overcoat and called her hood.
"
Akaky trying to save an old overcoat. We see that it is absolutely hopeless. "I
took snuff, Petrovich spread his hood on his hands and looked at it against the
light, and again shook his head. Then he turned his back lined up and shook agai
n lifted the lid with the general pasted a piece of paper, and nataschili nose o
f tobacco, closed, and put the snuffbox, Finally, he said:
"No, you can not fix: thin clothes!" At Akaky at these words heart sank. "Why ca
n not Petrovich? - He said, almost pleading voice of the child. - It is only jus
t that on the shoulders of poisterlos, because you have also some pieces ... "
"Yes, the pieces can be found, there are pieces - said Petrovich, - yes, you can
not sew: a rotten thing altogether, you touch a needle - and here too it will s
pread."
Stunned Akaky wandered through the streets, talking to himself, and only once in
the
complete standstill, falls into a new despair and decides to starve half a penny
and raise money for a new overcoat.
There are different ways of introducing the main characters in the conflict. One
- when the character as if unnoticed in everyday affairs shows his character. A
nother opposite - when the character appears to solve all the problems, resolve
a hopeless cause, reveal the miracle of salvation. So there are Superman, Batman
, Joan of Arc. Agree that it is the emergence of more effective. We can say that
this is the most spectacular opportunity for the appearance of any character. I
t attracts our attention to the character and makes the wait for miracles.
BIOGRAPHY ROLE
The surest way to bring closer the viewer emotionally and character - to give an
idea about the biography of the hero, briefly define his way of life; that the
image originated in the minds of the audience as a longtime acquaintance of his.
Gogol gives us maximum opportunity to learn heroine. Before
As the overcoat was launched, we know it as well as the mother of his child.
"Even what some two or three months a small starvation - and Akaky had accumulat
ed about eighty rubles. His heart, generally so deceased, began to beat. The fir
st day he went with Peter and the shops. We bought some very good cloth - and no
wonder, because it was thought even half a year before and a rare month did not
go to the shops to try on prices; Petrovich himself said that there is no bette

r cloth. Lined chose calico, but such good quality and dense, which, according t
o Petrovic, was even better than silk, and even in appearance and glossiness kaz
istey. Martens did not buy, because it was exactly the way, but instead it chose
a cat, the better, what they found in the shop, a cat, which is published could
be taken for marten. "
"Ceremony"
The first appearance of a real overcoat is shown as a "ceremony". Such a structu
ral element is always attaches importance to the character. No wonder they say t
hat "the king does suite." Remember those scenes. They have in many films. "Cere
mony" attaches special importance to the character.
In Kurosawa's film "RAS" has the appearance of a beautiful scene commander befor
e a battle.
First - an empty frame. Then there are the first riders of the suite. One sticks
to the land of the peak with a flag. Then the riders getting bigger. So they fi
lled the entire hill. But the commander is not. Servants rush in and put under s
tandard folding camping chair. Chairs grouped around the suite. More and more ri
ders fill the hill. A frame can not accommodate all. And only then enters water
enachalnik. Coming off his horse and sat down in the chair. We felt the importan
ce of the man who will now decide the fate of thousands of soldiers.
The emergence overcoat immeasurably more modestly. Petrovich brought the cloak r
eady. He plays the role of admiring entourage. He furnishes a festive presentati
on ceremony as the heroine.
"He took out a handkerchief from his coat, which he had brought it; handkerchief
was just from the laundress; he was then rolled it up and put it in his pocket
for use. Vynuvshi overcoat, he looked very proud, and holding in both hands, thr
ew very cleverly on the shoulders of Akaky Akakiyevich; then he pulled it back a
nd laid siege to hand down; then draped it Akaky more open. Akaky like a man in
years, I wanted to try the sleeves; Petrovich helped put in the sleeve - it turn
ed out that the sleeves was good. In short, it was found that overcoat was compl
etely and fit like a glove. "
Imagine a stranger comes to you, you admire from a distance, and without wasting
time, shows you:
- That's how I'll love you.
- And I'll put you to the people you admire.
- And I'll help you make a career. So you will be at its peak.
- And I'll see you when you get sick.
It makes it easy and fun. I am sure that in five minutes you will lose your head
with love and admiration.
Overcoat itself anything it can not do, but in the hands of it Petrovich demonst
rates stunned Bashmachkin options for their common good in the widest repertoire
.
MOVEMENT "Fortunately"
What changes occur after this life Akaky? Of course, it is no longer freezes. On
ly? No kidding. Heat is a tiny part of happiness, which overcoat brings to life
a hero.
"It is not known how all of a sudden in the department learned that Akaky new cl
oak and hood that is already no longer exists. All at the same moment ran the Sw
iss watch new overcoat Akaky. We began to congratulate him, to greet, so that he
at first only smiled, and then he made him feel ashamed. "
New girlfriend universally admired. This admiration is growing like an avalanche
. So much so that Bashmachkin invited to the society, which before could not eve
n dream of. That's what loving a woman can do for each other at one time.
"Finally, one of the officials, some even assistant-manager is likely to show th
at he was not proud and knows even lower himself, he said:" So be it, I instead
give Akaky evening and ask me today at the tea: I, as if on purpose, today birth
day. "
From the abyss of despair, a hero rises rapidly to the top of happiness, and all
this made his new girlfriend - his coat. How much he must love her for it!
Gogol shows this love in the lyric stage, which follows the massive admiration.
Bashmachkin compares the deceased and a new girlfriend. Evaluation makes it thri

lled the fullness of happiness. And this happiness specifically, visually and se
nsually.
"This whole day was for Akaky exactly the biggest festive celebration. He return
ed home in the happiest frame of mind, took off his coat and hung it carefully o
n the wall, admiring another cloth and lining, and then deliberately pulled out,
for comparison, a former hood completely sprawling. He looked at him and he lau
ghed, this was far from a difference! And long afterwards over dinner he smiled
... "
But happiness is still growing. Now it has orchestrated a bright evening street
with a joyful crowd, rich dashing crews, display lighting.
"Akaky looked at all of this as news. He has several years did not come out in t
he evening on the street. He stopped in front of curiosity lit shop window to lo
ok at the big picture, which shows there was some beautiful woman who Skidan off
his shoe, thus exposing the entire leg, very pretty; and behind it, from the do
or of the other room, put her head a man with sideburns and a goatee under the b
eautiful lip. Akaky rocked his head and laughed ... "
In Bashmachkin awake all seemed frozen male feelings. How not to cuddle, pat not
for this faithful companion, an overcoat?
From the first appearance of his overcoat, she never for a moment left without e
motional evaluation of various other characters. This is important because the i
tem itself can not play anything, it must be conducted on the role of step-by-st
ep, building construction: Event - assessment.
Overcoat Bashmachkin continues to up the dramatic vicissitudes of "happiness."
On this happy day Akaky and his girlfriend again, the second time in my entire l
ife are at the center of admiration. But this scene is brighter, emotionally fir
st. Officials drank, cheered and celebrated in their own circle. Action approach
ing the climax.
"Akaky, hanged himself his overcoat, walked into the room and flashed in front o
f him at the same time the candles, officials, pipes, tables, maps, and vaguely
startled his quick ears from all sides raises the conversation and the noise of
moving chairs. He stopped very awkwardly in the middle of the room, searching an
d trying to figure out what he do. But he already noticed, was received with a s
hout, and all went to the same hour in the front and re-examined his overcoat. "
Happiness is this could happen to Akaki Akakievich only in a dream. If you belie
ve Hans Selye, "earned the admiration of other people" - this is the limit of ou
r dreams. And all the time it is the admiration shown by assessment overcoat.
A touching scene steam replaces the noisy celebration. Bashmachkin as any lover,
every effort is made to be alone with his beloved.
"To somehow do not try to hold the owner, he came quietly out of the room, found
at the front of his coat, not without regret that I saw lying on the floor, sho
ok her, took her all the fluff, put on the shoulders and down the stairs to the
street. The street was still light. "
What is an emotional event! Bashmachkin carefully, almost secretly, selected fro
m the noisy living room to your favorite. But where is she? Where was gone? Bash
machkin terrified, suddenly sweating with fear. And suddenly he sees his overcoa
t lying on the boots and bots. It is fun, and it - the reason for his happiness
- forgotten and thrown on the dirty floor. He is guilty, gently lifts and presse
s to itself. He is happy. This is followed by yet another joyful passage in the
arms of his beloved. The face has a raw and biting wind. It only emphasizes the
fullness of happiness. The microclimate Akaki Aka
Kievich completely transformed. He was not only warm in the arms of his overcoat
, his first for his woeful life feels the pleasure of living, happiness to be to
gether with someone. He's on top of happiness.
"Akaky was in good spirits, even ran was suddenly, for some unknown reason, for
a sort of a lady, which, like lightning, and passed by which every part of the b
ody was performed extraordinary movement. But however well, then I stopped and w
ent back still very quiet, and wonder, even the lynx the undertaken nowhere. "
At this point, Gogol turns sharply dramatic vicissitudes down - "unfortunately".
The ups and downs "Unfortunately"
"He came to the area is not without some involuntary fear, just as if his heart

had a premonition that something was wrong. He looked back and sides: exact sea
around it. "No, it is better not to look," - thought, and walked with his eyes c
losed, and when I opened them to see whether the close end of the square, sudden
ly saw that it faces almost under the nose of some people with mustaches, which
is, so that he could not even distinguish. His clouded eyes and pounded in his c
hest. "But it's my overcoat," - said one of them in a thunderous voice, grabbed
him by the collar. Akaky was about to scream "help" as another put his mouth to
him to fist the size of a bureaucratic head, she said: "And that's just shout!"
Akaky felt just as stripped him of his coat, gave him a kick with his knee, and
He fell on his back in the snow and did not feel much better. "
APRON ROLE
The ups and downs "unfortunately" has just begun. Note overcoat anymore. But the
rest of the characters all their actions to obey it. Emotions
tional tension grows in connection with it. Her role in the continued actions of
other characters. This structural element is called the "tail role."
Bashmachkin fighting for the salvation of the lost friend. But one after another
disaster piled on him. He is heading for the abyss and almost at the bottom of
her requests to find an overcoat to the "significant person".
"Akaky had previously felt proper timidity and somewhat embarrassed as he could,
as she could allow him freedom of language, declare it with the addition of eve
n more than at any other time, particle" that "there was a de overcoat entirely
new and now robbed inhuman manner, and that it refers to him, that he may reques
t its like something that would have exchanged letters with Mr. Chief of Police
or others who sought and overcoat. Gen. unknown reason, it seemed to such treatm
ent familyarnym.a ? ... a ?
"Do you know whom you are speaking? Do you understand who is in front of you? Do
you understand this, you understand that? I'm asking you. " Then he stamped his
foot, lifted up his voice to such a strong note, that not even Akaki Akakiyevic
h would become scary. Akaky and measuring, staggered, shaking all over and could
not stand if it were not immediately watchman ran to support him, he would have
flopped on the floor; he was carried almost no movement. "
"Flex" - is the following roles in the film. Naturally, it enhances the impres
pression from the role. In addition, the role of the trail is extremely useful a
s a strong emotional motivation for the actions of other characters.
"How I came down the stairs, came out on the street, nothing really did not reme
mber Akaky. He had not heard of any arms or legs. In his life, he was not even s
o much PRINTS general, and even a stranger. He was walking on blizzard, whistled
in the streets, open-mouthed, stumbling from the sidewalk, the wind at the Pete
rsburg custom, blew it on all four sides, from all the lanes. Instantly blew his
throat toad, and he reached home, unable to utter a word, the entire swollen an
d took to his bed. So much is sometimes appropriate raspekane! The next day he d
iscovered a strong fever. Due to the generous relief of the St. Petersburg clima
te disease has gone faster than expected, and when the doctor came, he felt his
pulse, nothing I found to do once prescribe a poultice, only much to the patient
is left without the beneficent aid of medicine; and however, immediately declar
ed him through half days indispensable kaput. Then turned to the hostess and sai
d, "And you, my dear, and do not waste time in vain, make it now pine coffin, be
cause the oak is the way for him. "
"LEGEND role." The ups and downs "Fortunately"
The heroine of the disappeared, the hero died. It seems that all possibilities h
ave been exhausted role. For anyone, but not genius. After the death of the hero
may come a time when it has become a legend. But his spirit is exciting and dis
turbing the living. This is the main thing that can leave a person.
And this structural element can greatly enhance the overall impression of the ro
le and the film as a whole. It is called "The Legend role."
"In St. Petersburg suddenly swept rumors that Kalinkin bridge and far away was t
he show at night the dead man as a clerk, seeking some utaschennoy overcoat and
under the guise staschennoy overcoat rip off from all shoulders, without disasse
mbling the rank and titles, all kinds of overcoats: for cats , beaver, padded, r
accoon, fox, bear coats - in short, all kinds of fur and leather, which only cam

e up to cover his own people. "

Legend role vzmetayutsya final vicissitudes climax and catharsis. It Bashmachkin
spirit of complete misery ascends fortunately vengeance. There was a timid bure
aucrat - became a terrible robber. He was unresponsive sufferer - became the pro
tector of all robberies. It was the corpse -stal eternal avenger in the legend.
A bitter happiness, but what else could be revived at the dead man? Legend has c
ompleted all the dramatic story line.
Not noticing a blizzard, wrapped in luxury overcoat, a "significant person" goes
in a good mood on a date to his mistress. But ...
"Suddenly I felt important person that he grabbed someone very firmly by the col
lar. He turned and saw a man of small stature in an old, worn official uniform a
nd not without horror recognized him as Akaky. Face officer was pale as snow, an
d looked perfect dead. But the horror of significant persons exceeded all bounds
when he saw the dead man's mouth framed the twisted and it smelled terribly gra
ve, said such words: "Ah, so here you are at last! At last I'll order caught the
collar! Your a greatcoat and I need! Do not intercede on my own, and even scold
ed, - to give the same to him as his! "
"Legend of the role" - is a powerful factor in the drama. Nothing affects people
emotionally, as a legend, lived after the death of heroes. Remember Christ. His
resurrection - one of the finest dramatic legend, and it completes His earthly
stay under the laws of dramatic structure. Beggar preacher with a bunch of follo
wers died in agony with the thieves. But his spirit ascended and will always liv
e in the hearts of billions. Gospel wrote geniuses, and they took care of the em
otional contact with people.
To summarize the structure as a "detail-character" in "The Overcoat." Sorry for
the accounting department, it is useful.
1. The appearance of parts preceded hopelessness in the dramatic situation of th
e protagonist.
2. Overcoat appears as an unattainable dream. But this dream transforms the hero
. He gets the momentum to fight and overcome barriers, fighting for a dream come
true.
3. Before the advent overcoat her biography, we learn, we get an idea of ??the s
ense it. Our familiarity with the detail exhaustively complete.
4. The effect of the overcoat ceremony strengthened its appearance.
5. appeared overcoat immediately comes into conflict with the antagonist and com
pletely transforms the life of the hero. S'pomoschyu overcoat hero rises to full
happiness. It gets much more than than expected. The ups and downs of happiness
goes up.
6. This happiness would be eternal. But "suddenly" the hero loses his overcoat The drama develops drags it down, unfortunately.
7. Devoid overcoat, he continues to roll into the abyss of misery. Overcoat gone
, but "plume role" makes the hero to overcome obstacles, trying to return the it
em. But these attempts have failed. Hero of the danger of death. He dies.
8. After the death of Akaky reborn in the "legend of the role." He spiritualized
overcoat and revenge enemies, but as an ideal figure of legend.
Think about it.This structure is the most complete and efficient structure not o
nly for the parts, but also for the role of a living character. In it are all th
e structural elements which are important for the role of hero. It is a universa
l structure. I am convinced that Gogol acted instinctively. But intuition and ge
nius is that we have to scrutinize. The chamber
Coy measure brain of a genius can be likened to a supercomputer, which instantly
goes through thousands of options and stop at the most productive solution. It
is not difficult to understand why Gogol chose precisely this structure. It give

s maximum opportunity to our emotional connection. Gogol not only composed the "
detail-character" as a playwright. But he is a brilliant director, has developed
a complete emotional contact with the audience. He animated coat and played her
role. And as the cloak itself is passive, its role is to strengthen the actions
of other characters, be a source of conflict. This role is called the "axis." S
he'd defines an axis on which are strung conflicts.
Detail-character usually plays "axial role" in the development of the conflict.
More accurate to say that the best opportunity for the role of part-character a axial role. That's what a doll role in the film of Luis Berlanga. She apparent
indifference takes all the joys and sorrows, passions run high around her, and
she was "like a doll."
If we now look at some of the details of all the role-character entirely, it bec
omes clear that in its development there is a clear goal - how to make Bashmachk
in happy. And this is a clear overarching objective through action - love to Bas
hmachkin overcoat. Life items can only be experienced through the game live char
acters. The item comes to life in other people's evaluation.
You might say that the part-character - is the product of an unusual fantasy. In
real life do not often see stories like "doll" or "The Overcoat." Then listen t
o the story of life. I told her relative, a doctor. In the center of this story
is character-piece.
Long ago, back in the late fifties, this doctor, very young doctor, moonlighting
night duty in the infirmary at the Machine-Tool Plant "Dynamo". Work calm, as a
rule, you can sleep. So he did that very night. He took off his shoes, covering
robe and fell asleep on the couch. Suddenly he wakes up young nurse on duty, fl
ushed with excitement:
- Herman E., come quickly. It happened ...
- What is it?
- Oh, I can not tell. You have to see ... It is the doctor quickly through the c
orridors of the night shop. It brings to the little room and the guard pokes his
finger on yourself go. A howling is heard from the closet in the two votes. A h
owling women, the other - male.
Comes doctor and saw in one corner howls from fear disheveled woman. And in the
other lies on the bed and howling man without pants.
I peered doctor, and what he saw, it's hard to describe. The common colors, the
specific part of the male body man swelled, size like a little pumpkin. Not for
any classes in anatomy he had ever seen.
- What happened to him? - Asked the doctor. The woman is crying:
- Uh ... it ... nut.
- What?
- Nut.
- Where?
- There - woman pokes in the direction of red pumpkin. Night worker and watchman
were like in love relationships. But what had the watchman, had little of his g
irlfriend. She decided to further his institute. I put on the table a bottle of
vodka, believing that when he drinks, the new rush of desire to embrace him and
he gave her a little happiness. But the guard drunk and fell asleep. Then the cl
eaning lady decided to initiate his desire mechanically. He pulled his limply ha
nging steel nut body, suggesting that blood flow will raise and strengthen flabb
y flesh. And so it happened.
While the doctor listened to this story, howling and moaning man intensified. Dr
. barely parted the swollen skin and saw the depth of the metal rim of the nut.
Remove it was absolutely impossible. Peasant threatened Pretty soon agonizing de
ath from shock.
Please note that in this life story the main part of the plot behaves like a cha
racter. It appears when the heroine needs it in order to experience the fullness
of happiness. And it seems that it can help the heroine gets what he wants. Tha
t is part behaves like a friend of the heroine. Unexpectedly and in accordance w
ith
the rules of drama hope for happiness turns into disaster. And instead of a nut
tormented lover and threatens to love death. It seems that this is a well-design

ed scene. But this is life.

The doctor calls the night dispatcher:
- Call to the workshop director.
- It is impossible, - says manager.
Now you can not imagine what was in the old days the director of a large militar
y factory. God. Normal god. He disposed of the life and death of 5-6 million peo
ple. I gave them apartments, released from the army, could anyone accept or dism
iss, glorify or imprisoned.
- It is absolutely impossible, - says the manager.
- Fifteen minutes later, a man will die in the shop, and you will be to blame. L
isten to his voice. - And the doctor puts a tube to Howling peasant.
Howl worked. The doctor and the director got a phone ringing him in the tube hea
r a sleepy growl:
- Oh? - Apparently, the phone is placed near the pillow.
- Comrade Director. Do you work at the plant dies. What to do?
- Fuck you! - Growls into the phone and hangs up the director. And the tone of t
he doctor realizes that the director is good drunk the night before. But the gua
rd moans, wails the woman and the doctor again dials. As soon as the director pi
cked up the phone, he quickly said:
- Comrade Director, your worker wearing zuyu nut! Listen. - And hands the phone
to Howling keeper. - Have you heard?
- Food! - Briefly the director, and literally five or six minutes, a huge black
"ZIL" stops at the shop.
The doctor reports, a long time director of the silent, then says:
- Then I do not need a physician, but Ivan Ivanovich. Send my car for Ivan Ivano
vitch.
Before working class dwelt right around the factories, factory buildings. Everyt
hing was at hand: a house, a kindergarten, a beer stand, school, college, store.
Many have lived all my life in Moscow, in a small village. Five minutes later b
rought Ivan Ivanovich. Such a small, thin, with a mustache, glasses in a round m
etal frame.
The director says:
- Ivan Ivanovich, here it is necessary to save the life of a man is not, and lar
ger than life. All hope for you.
A watchman was almost unconscious. His eyes rolled and moans.
Ivan Ivanovich says:
- Show the nut.
The doctor gently trying to push the edge of the swollen edema. Nut barely visib
le. Gleams.
Ivan Ivanovich peers and nods can be released.
- Of course. Chrome-nickel steel. It does not cut ... Is that try to split under
the pressure.
- Try it, dear, - said the director. - Try it. Ivan Ivanovich thinks and draws w
ith chalk on the position of the working large steel frame huge, two or three fl
oors, dvadtsatitonnogo press.
- You need to pull the edge of the swelling, and I'm hitting the nut. If a strik
e happens - save. If at first you do not come out - cut off his all to hell. The
re is no alternative.
The doctor says:
- No, if you do not work, consider - it is dead. Drove to the hospital is not.
And now howling guard put a large steel bed, which pressed the detail sizes with
turret. Above it hangs a huge steel mass media. Ivan Ivanovich takes the hand c
ontroller, includes press. And the press begins to sink small shocks to the body
: the tuk-tuk, tuk-tuk, tuk-tuk. Up and down, up and down, up and down.
That machine of steel is already looming very close. The doctor pulls the forcep
s edematous body. Press can hit the nut just self
mym edge area. And Ivan Ivanovich long it conforms to the movements of the press
, almost millimeter. And suddenly the press rises sharply and has a nut.
- Tink! - There was a sharp ringing a click.
- Cracked - Ivan Ivanovich sighs and picks up the press.

Now the ends of cracked nuts stretched with forceps and remove. The doctor puts
a bandage. The poor will live.
Now, notice how in the culmination of tense suspense. How did the spectacular si
ght of the elements characteristic of the final episodes. And at the center of a
small detail - a nut that turned in the axial character of history. The second
most important character.
Let me remind you.The main character - is the one whose story we are telling. As
a rule, it is between life and death, happiness and sorrow. Axial character - i
s the one who sharpens all his conflicts and pushes him to travel.
But you say that it's pretty rough example. Aggressive detail - is a tool of low
genres. Her destiny - horor, thriller, sex, and violence.
Indeed, horor likes to use part-characters. Suffice it to recall the films of Jo
hn Carpenter's "Christine" - the story of amorous, but pathologically jealous ki
ller car. Or "Tu
man "- a beautiful fantasy, where the item of climate - fog - turns into a magic
al murderers.
But what would you say if I remind you of one of the most aggressive parts of th
e poetic fairy tale? Where before her poor nut! This part is pierced eyes and st
uck in the heart of a little boy. The boy froze, but survived. Remembered?"The S
now Queen", and detail - mirror trolls that broke into a thousand pieces and sca
ttered over the world. These fragments fly, pierce people's eyes and heart, the
fruit monsters and villains.
Andersen was the first poetically expressed the emotional power of the details a
nd the details through said something very important. How many of them had -resi
stant tin soldier, a flint in the hands of a cheerful soldier tree with a sad li
fe story. Look through his tales, they storehouse of stories that are waiting fo
r the screen. But Anderson was not a playwright. He was a poet.
Consider perhaps the most poetic dramatic work of world cinema, a half-hour mast
erpiece that won the Cannes Film Festival all feature films and won the grand pr
ize. "The Red Balloon" by Jean Lamorissa - a masterpiece of fantasy, which never
gets old.
Lonely boy is unhappy. He needs a friend. And there is one. It's a simple red ba
ll, inflated with air. But on this other can only dream of: he is devoted, cheer
ful and caring. He comforts and entertains boy. The boy became happy. And at tha
t moment the evil children
another shot. Red Ball wrinkled and died. Boy alone again, he became even more m
iserable than before. And then all the balloons of Paris flocked to the boy and
carried him off somewhere - at the sky, fortunately.
My friends, what do we see? This poetic fantasy has the shape of the rigid struc
ture of dramatic twists and turns! From misery to happiness - and suddenly - the
fall unfortunately - and suddenly - off happily in the legend.
History, which has a part-character, never, under any circumstances can not be t
old is tight dramatic structure. Because it gives the details of the structure o
f life.
It would be strange, talking about the details, do not remember the title charac
ter of the film "The Piano" Australian director Jane Campion. Nobody, I think, d
o not accuse this woman of excessive rationality. The film seems to be woven of
sentiment and visual insights. But if you want to analyze how the role of the pi
ano is built, it can easily find a role within a clear and solid construction. C
lear axial role - each character.
I think the key details have creative energy: the item as it pulls out from the
depths of your personality care and love. All the same, as the crippled child or
a dog. Like it or not, and must be fed, to walk, to play. I am confident that b
etter care of the visual details than sharpen nuances and subtexts dialogues. Se
nse for the film will be more.
What a rag-cloak or gum, inflated with air, without structural story? Nothing. I
n structure, it works wonders.
Overcoat - Bashmachkin rescued from the cold, propelled to the top of happiness.
And when he left, he died of fever.
And we are in the second century, one of the most moving in the ointment

howling literature love stories empathize Akaki Akakiyevich -geroyu history. Not
because he is alive, and his coat - a rag. And because his emotions and actions
exacerbated the axial character - greatcoat. What questions to ask an overcoat?
- I'll need? Bring me.
- Achieved? We now estimate that I can do for you.
- What would you do without me? Search, fight to the death?
- You died? I will give you the magic power to avenge me. Take Action!Just heigh
tened emotions and actions of the doctor in "Dolls", stupid lovers in "Nut" and
the boy in the "red ball". This exacerbation of emotions of the drama make sense
to work with part-character.
World Drama is infinite and inexhaustible. I tried to deal with those things tha
t are not other people write or write, in my view, clearly insufficient. The ple
asure with which I was thinking about the profession, told me - put a full stop.
I hope that before the next meeting.
Alexander Mitta, film director. The author of the movie:
"Ringing, Open the Door", 1966, "Shine, shine, my star", 1970, "The Tale of How
Czar Peter Moor married", 1976, "The Crew", 1980, "The Tale of Travel", 1983, "L
ost in Siberia "and others. Winner of the Venice Film Festival. Professor of the
University of Hamburg
APPENDIX 1. EVENT
EXAMPLE directorial parsing
Within each event is tough polyline dramatic vicissitudes of events. It is a str
ucture. On top of her arc bends life characters, full details and the details of
micro-surveillance - is your creativity. Life in each event explode unpredictab
le conflict. We can say - we go through events like the child goes through a mys
terious forest. Away twinkling stars the ultimate goal. The child throws a stone
in her direction. And there is the mysterious darkness through the event to thi
s pebble. Then again throws and more ...
It moves along the path through actions. All events are united through the film,
he is confronted through counteractions. They face in conflicts in every event.
The chain of these conflicts is the chain of events.
All values ??in the drama of the events grow through conflicts.
"Method" Stanislavsky says. a dramatic story that emerges only through the show
event. The event is within each scene. But it is not always clear at first glanc
e. Sometimes it is necessary to guess, and build or pull out from the depth of t
he scene outside. This is important, because it is event is the core around whic
h grow all the details of a dramatic performance.
We staging of Chekhov's short story, "Annie." It is simple, there are three acto
rs and therefore it is possible to understand how to work with the "event."
"At the very cheap number plates furnished rooms" Lisbon "from corner to corner
I walked medical student 3rd year, Stepan Klotchkov and diligently crammed his m
edicine. From the relentless, hard zubryachki was dry mouth and spoke on his for
ehead sweat.
At the window, flecked at the edges of the ice patterns, he sat on a stool, his
lodger, Annie, a thin little brunette of 25, very pale, with mild gray eyes. Ben
t back, she embroidered in red thread on the collar of a man's shirt. The work w
as hasty ... Corridor clock hoarsely struck two in the afternoon, and in the num
ber plates have not been removed. Crumpled blanket, scattered cushions, books, d
ress, big muddy basin filled with mud soap, which floated butts, rubbish on the
floor - all seemed to be lumped together, purposely mixed up, crumpled ...
- The right lung has three lobes ... - crammed shreds. - Borders! The top share
of the front wall of the chest reaches to 4-5 ribs on the side until the 4th rib
... back to the spina scapulae ... (to the bone blades (Lat.)).
Scraps, trying to imagine just read, looked up to the ceiling. Not having receiv
ed a clear understanding, he became host to probe through the upper edges of the
vest.
- These ribs are like a piano key, - he said. -You Can not be confused in the ac
count, they certainly need to privykpull the. Have poshtudirovat skeleton and a live person ... Come on, Annie, let
me orient!

Annie left embroidery, took off her blouse and straightened. Tuft sat down oppos
ite her, frowned and began to count her ribs.
- Um ... The first edge is not palpable ... It is for the collarbone ... This wi
ll be the second edge ... So ... It's a third ... It's the fourth ... Um ... wel
l with ... What do you harvest?
- You cold fingers!
- Well, well ... do not die, do not fidget ... So, this is the third edge, and t
his is the fourth ... you're so skinny to look at, and the edges barely detectab
le. This is the second ... third ... No, that way confused and not realize it is
clear ... We'll have to draw. Where's my piece of coal?
Tuft took the coal and drew them to his chest Anuta several parallel lines corre
sponding to the edges.
- Excellent. Everything at a glance ... Well, and now you can knock. Stand-ka!
Annie got up and lifted her chin. Tuft began sounding and so absorbed in this oc
cupation that did not see the lips, nose and fingers were blue with cold Anuta.
Annie trembled and feared that a doctor, seeing her shiver, stop drawing charcoa
l and banging and then, perhaps, might pass the exam.
- Now everything is clear - said Klotchkov, stopped knocking. - You sit down and
do not erase the coal while I swot up a little more.
And the student again began walking and bison. Annie, just tattooed with black s
tripes on the chest, huddled against the cold, sysI do and think. She spoke very little at all, always silent and all the thought
and thought ... "
Beautiful lyrics, expressive characters, vivid details. But as long as the text
of the story is not turned into a dramatic action, the actors can only illustrat
e the text of the author reading his expression with accompanying gestures and m
ovements as described by the author. The characters do not grow out of this. Not
there, and our empathy. We already know. that empathy occurs when the character
s move from happiness to unhappiness for dramatic twists and turns. This is a su
re way for the development of emotional contact.
In the drama of the story appears only as a sequence of events.
At each stage it is necessary to find one event, which tells of a conflict. Duri
ng one event follows another, and so far we have not uncovered all events, the a
ctors have nothing to play with.
We start with a dramatization of what each scene is dramatic twists and turns, w
hich will be the basis for the event.
Initiating events
To open an event as dramatic action, we need to identify the story original even
t.
Starting the day before the event occurs. Initial event shows how the problem sh
ould be immediately solved a character here and now. It charges the actor's spec
ific energy actions.
Stanislavsky considered the starting point of the entire event is the work of th
e director and the actor. Getting Started - defining initial event.
The initial event in "Hamlet" - the death of the King, assassinated brother. The
initial event in the "Romeo and Juliet" feud Montagues and Capulets. The initial event in "The Cherry Orchard" -ugroza s
ale by auction of the estate with the cherry orchard - made Ranevskaya return ho
me from Paris. It brought together all the concerned family members.
Seeking the initial event, we must answer the question: without events would not
be a play or a film? What event defines all the subsequent events?
Often, the initial event requires the director of fantasy. He should think of. S
uppose that Stepan was already once in the exam and failed. The professor was un
happy:
- Klotchkov you careless student. You can not become a good doctor. I give you a
bad grade.
- I know everything - Stepan confusion was justified. - I just have these bones
are not yet settled in the head. Honestly, I have learned ...
- Well, put and come again the next day. But it will be your last attempt - said
the professor.

It is now clear that Stepan was a severe blow to self-esteem. He faces a profess
ional failure. Back there is no way. We must pass this damned exam. The countdow
n to disaster.
Tuft came home in a rage:
- Cursed bones! How can they learn by heart? Professor Bastard! What is he bothe
ring me?
But do not fight with the same professor. Stepan stress. He needs to get out of
it immediately. But as? To learn all at once, he can not ... However, there is a
quick way out. You can get drunk and forget the problem at least until morning.
Stepan rummages in his pocket, turns them inside out - a penny. Parents should
send, but delayed, rascals. Took Anyutin shawl and carried into the shop, gave a
bottle of vodka. He thinks: "get money back and redeem." He came back, drank ha
lf a bottle, and seemed relieved. I fell asleep.
In the morning, half an hour before the first scene of the story (remember this
term, it is important), Stepan woke up. The head hammers beat. In the mouth cess
pool. Hair matted with sweat. With difficulty wakes up and suddenly remembered:
- Exam tomorrow! Oh, shit! As I offered him? What an idiot I was yesterday! We h
ad to immediately sit down at the cramming!
Stepan enough tutorial tries to cram, but the bones of the textbook in the head
shaking and jumping like Michael Jackson in "Thriller." Nothing can learn Stepan
. He is in despair:
- Failed the exam! How can these bones lay in the memory? - He is in a desperate
situation, looking for a way - maybe Aniuta used as a living exhibit? Come, com
e here, Annie. Lift your shirt. Here I draw with charcoal one edge ... Here more
...
Drew. Suddenly everything began to clear. In the living skeleton, everything is
much clearer. Clearly, as the bones cling to one another. As the bodies are arra
nged in space.
- As I previously had not thought of? Rent I am the damn exam!
Stepan happy. Cramming into a creative.
An event of this scene - Stepan of stalemate, using Annie, found a way out.
Note that we did not change a single word, we are not added to the scene a singl
e gesture. But the actor has to play there.
But apart from the story of Stepan operates the main character Annie. We need to
open the event and in her actions. The event is the script. who improvise two c
o-authors. One never knows what the other will do.
There's followers in the first stage only one replica. And the whole story only
three short remarks. In addition, there is a concise indication of Chekhov that
she kept thinking. But did not specify what. Can we build on this role?
"Method" says - no doubt!
Usually we come up with the story of the life of the character, but Chekhov give
s us a short history of the life of Annie, from which we can see the grain of he
r character. This is a simple woman who lives with love. Her dog love, unrequite
d, betrayed. Usually only the owner feeds his dog. And Annie is the dog that she
feeds her master, which is typical for Russian women.
"For six or seven years of her wanderings from one furnished rooms such as Klotc
hkov, she knew five people. Now all they have finished their studies, people cam
e in and, of course, like decent people, have long forgotten it. Tuft - sixth So
on ... and finish this course, people will come in. Undoubtedly, the future perf
ectly, and from Klochkova. probably it would become a great man, but now quite b
ad: we Klochkova no tobacco, no tea, and sugar remains four pieces. It is necess
ary as soon as possible and finish her embroidery. ordered it to bear and then b
uy with the quarter and tea and tobacco. "
We will work along the same lines. We find the initial event. Annie returned hom
e late. One job passed, the other took over the house. Probably got some pennies
, maybe bought something as a gift Stepan, to celebrate his exam. She loves him.
And suddenly she sees her belongings scattered, no handkerchief, Stepan asleep d
runk. Immediately I understood everything, not the first time it is. Maybe I cry
, and maybe her lips and began to collect things. Where to go? Nowhere. And sorr
y for the boy. Here it is a big, helpless, moaning in her sleep. I lay nearby, s

obbing and stroking. And I fell asleep.

The circuit twists and turns: was happy - became unhappy. On the morning of smol
dering resentment in her heart: the event of reconciliation was not. Stepan deep
in trouble, it does not notice. And suddenly he calls Annie, said: "Take off yo
ur jacket." Why would it? Ah!It will teach her bones. Still, it was useful. Anni
e worth before Stepan, freezing, shivering, shivers at the touch of coal to the
skin. And suddenly Anyushe notices that Stepan cheered. He is well - hence her well. She stands frozen
and smiling through her tears.
Look, we did not add a single word Anyuta. But through the event opened its inne
r drama. And it gave her the details of life in a dramatic situation. Inside the
event revealed the drama develops. Schematically, Annie was unhappy - became ha
ppy. But the vicissitudes of the scheme arched emotional arc of a specific event
: the insult to reconciliation and Stepan. Every second of her life was filled w
ith silent living emotions and internal action. Through the forgiveness of offen
se breaks. The second act - a problem complicated.
"- Can I come in? - Was heard at the door. Annie quickly threw a woolen shawl ov
er her shoulders. He went artist Fetisov.
- I have come to you with a request. - He said, referring to Klochkova and bruta
lly looking from under hair drooping over his forehead. - Do me a favor, lend me
your beautiful damsel hour or two! I write, you see, now, and without a model c
an not be!
- Oh, with pleasure! - I agreed to shreds. - Go on, Annie.
- What I have not seen! - Annie said softly.
- Well, enough! Man asks for art, not for what some trivia. Why not help if you
can? Annie began to dress.
- And what do you write? - I asked shreds.
- Psyche. Good story, but somehow it does not come out; prihoditsya all from different nudes write. Yesterday wrote one with blue legs. Why,
I ask, you have blue feet? It says, stockings shed. And you're still bison! Happ
y people have the patience.
- Healthcare is such a thing that can not be without zubryachki. "
Stepan during the second act smug: the bone is no longer a problem. His mistress
interested artist. And this lady will do whatever he wants. He is happy, on top
of self-satisfaction, therefore - ready for another vicissitudes. Now the artis
t maknet it into garbage.
Do we have to find the initial event Fetisov? Of course.
Yesterday Professor looked at his paintings started painting and said, "Listen.
Fetisov why you Psyche with cyanotic feet? As such, your canvas is mediocre. You
need to paint signs on the market rather than a picture at the Academy. "
It was a strong blow to self-esteem. Fetisov was angry and upset. He considers h
imself the "aesthetics".
It would be nice also to determine how Fetisov spent the last half hour before t
he scene. What he drank in the morning? A cup of tea with the steering wheel or
a glass of vodka with cucumber? On this depends the emotional coloring of his be
havior and the truth of his body.
So, the beginning of the action all the characters - Stepan, Annie and Fetisov delivered in a dramatic situation - a hopeless situation from which they have t
o find a way out.
"- Um ... Sorry, Klotchkov, but you terribly pig live! The devil knows how to li
ve!
- What do you mean? Otherwise it is impossible to live ... From Batko I get only
twelve per month, and the money to live decently wonder.
- So-so ... - said the artist and grimaced in disgust - but you can still live b
etter ... of human development must be aesthetics. Is not it?And you then what t
he hell! Bed not tidied, dishwater, dirty ... yesterday's porridge on a plate ..
. ugh!
- It's true - said the student and confused - but Anyuta was once removed today.
Busy all the time. "
Fetisov came humiliated by their failures, with contempt misunderstood esthete c

ursed untidy room, like easier. The drama develops delineated from humiliation t
o assert themselves.
As play during a visit Fetisov main personage - silent Anyuta? Just prior to tha
t Annie was happy. She helped beloved. Suddenly Stepan Aniuta pushes a man who d
isliked her, who cursed her housing. It should do the nasty work of Artist's Mod
el: stand naked on one leg with his hand outstretched in the cold the artist's s
tudio. Br-rr! I was happy - became unhappy. She does not want to go to the Artis
t's Model Fetisov.
But the favorite ordered. And Anuta it as a feat in the name of love. I wanted t
o rebel, but resigned. All this, of course, developing, almost spilling out, as
an internal conflict. But secrecy - are nature's followers, she still inside. It
is important that the vicissitudes of events bends the arc of the emotional lif
e of a riot Therefore
kornosti. The actress has something to play with. In front of her all the time t
here are barriers that must be overcome.
A visit to Klochkova Fetisov - a low blow. Just to get by, his head came the ord
er from the bones, and suddenly it turns out that his whole life does not confor
m to an aesthetic person. He did not notice that he lives so disgusting. I was h
appy - looked - became unhappy.
Note that Chekhov not for one moment does not leave the story without the struct
ural development of the dramatic action. Immediately after the departure of Feti
sov and Stepan's followers alone dreams as in the future it will have a rich spa
cious apartment, beautiful, educated wife.
It was only a dream peaked, Stepan thrown from the future into reality.
His face is dirty from mud basin and cigarette butts. Stepan allegedly first saw
and appreciated this abomination. Dream - a movement to
Fortunately, the reality - the fall in misfortune. Event scene - falling from a
dream into reality. What was born as a result of the event? Stepan found out and
made a decision: now he would drive Annie, and everything will work out. The up
s and downs of Stepan from complacency to despair. From despair to hope.
Turning Point - a decision to expel Aniuta Klochkova - drives the drama in the t
hird act.
Annie came from Fetisov, hoping that Stepan praise, maybe caress. Inside it, lik
e a dog that is ready to enjoy any courtesies. And suddenly it falls blow.
"When she came back from the artist, took off her coat, he stood up and said to
her seriously:
- Look here, my dear ... Sit down and listen. We need to leave! In short, to liv
e with you I do not want to.
Annie returned from an artist such fatigue, exhaustion. Her face of long standin
g in the nature haggard, thin, and chin became acute. In response to doctors, sh
e said nothing, and only her lips trembled.
- I agree that sooner or later we would still have to leave - said the physician
. - You're good, kind, and you're not stupid, you understand ...
Annie again put on his coat, silently wrapped his Embroidery paper collected thr
eads, needles; bundle with four lumps of sugar found in the window and put on a
table near the books.
- It's your ... sugar ... - she said softly, and turned away to hide the tears.
"
Maybe Annie and I sobbed, but somewhere deep inside. And outside the simple phys
ical action: collects things slowly. Suddenly Stepan Peredumaet? No, this time it is gone forever and nowhere ... And now it fits with
their bundles to the door ... We ought to embrace Stepan, but is afraid to weep.
Attempts to preserve the remnants of self-esteem. Nursing home - this event.
And Stepan began the third act brutally and decisively, as a surgeon. Probably t
hought patterns of behavior and copies them. But in fact he is a weak kind guy.
He can not see the woman's tears and quickly lost.
" - Well, what are you crying? - I asked shreds. He walked around the room in em
barrassment and said:
- You're a strange, right ... very do know that we need to leave. No age can we
be together.

She had taken all her belongings, and turned to him to say goodbye, and he felt
sorry for her.
"Do let her stay another week here? - He thought. - In fact, even more will live
, and in a week I'll tell her to leave. "
And, annoyed at his weakness, he shouted at her sternly:
- Well, what do you stand? So go away and do not want, so take off your coat and
stay! Stay! "On Aniuta struck a new drama develops from unhappiness to happines
s. We have about him can only guess. The happiness it can erupt very deep. But A
niuta it overflows. Yes, it's a miserable, short dog happy! But Anuta another an
d can not be .
Imagine this as a young Giulietta Masina. If you not
insensitive man, stuck in your throat lump, and her eyes moisten sympathy for An
yuta.
"Annie took off her coat in silence, slowly, then she blew her nose, too slowly,
sighed and quietly went to his permanent position - to the stool by the window.
The student pulled to her book and again went from corner to corner.
- The right lung has three lobes ... - he crammed. - The top share in the anteri
or wall of the chest reaches to 4-5 ribs ... And in the hallway someone shouted
loudly:
- Grrigory samovar! "
See how emotional arc arched events starring the actors in three acts.
Stepan
Anuta
1. From cramming creativity.
1. From resentment towards reconciliation.
2. From complacency to despair.
2. From rebellion to obedience.
3. From the determination to the confusion.
3. From despair to hope.
Every moment of their lives filled with emotional effect.
Pay attention. All events are lined up like a dramatic story twists and turns. E
verywhere has one simple scheme: fortunately - Assessment - unfortunately. Unfor
tunately - evaluation - fortunately.
This simple universal structure acts in the drama always and everywhere, in smal
l and large ways. She just cell drama.
Whenever there is some stimulus, which can play a conflict in the event detected
peripetia. For example, Anuta:
Stepan bison. Annie embroidering. It does not suit him - miserable.
He called her. It is necessary - happy.
I got to screw up shirt. She was cold - unhappy.
To understand something with it - happy.
I took coal, draws a line on the body. It is painful and unpleasant. Unhappy.
He was delighted. Now he understood everything with it - happy.
The ups and downs are always expressed in a small collision conflict. This is a
story by a question-answer. This is a story through tiny events.
Let us remember: the first thing we need to do, dramatizing the text is the defi
ne: What major event happened in the scene.
To do this, we first find out the dramatic situation in which turned out to be a
character.
Then develop it schematically in the dramatic vicissitudes.
Above it are building a particular event, and find emotional arc of events - liv
e devoid of schematics, detailed the life of a character.
When this is done, the course is determined. We know that we have to offer the a
ctors and what can we take from them when they fantasize on the role.
We learned the connection of structural elements of the conflict:
- Dramatic situation
- Peripeteia and how one grows event.
In simple structures, they clearly linked. But our life is not always easy, and
its reflection in the drama is not always simple.
When the characters prey on each other, killing and run - this bond on the surfa

ce.
However, we want to express life as possible harder and thinner. This, of course
, the structural basis can go deep under the water. It is important not to lose
it, because it affects the emotional game of actors and the contact with the aud
ience.
Great writers working in the drama, and before the 'method', understood a key ro
le in the drama of the event. Here is what one of the greatest writers of the XI
X century, Saltykov-Shchedrin: "The real drama, though it is expressed in the fo
rm of well-known events, but the latter is only a pretext for her, giving her th
e opportunity to again put an end to the contradictions that fueled it long befo
re the event that lurk in life itself, from afar, and gradually was preparing th
e event itself. Considered from the point of drama events have the last word, or
at least a small, strong turning point of all human existence. "
APPENDIX 2. VERBS active action
This chapter will help authors understand how to work with their text the direct
or and actors. It stimulates the imagination of the general interest.
In a stage should not be a single point where the actor would have a specific ta
sk actions. In these problems, the characters grow up. The director can always f
ind a verb that briefly reveal this action. Long explanations to help small, spe
cific active verbs actions lead to the goal. They are called the "golden key." T
hey are good actors help emotionally develop its role in the scene.
Here are a few examples and options for use. Just remember the main covenant: lo
ok for conflict actions and text. It enriches the character.
Actions character should not be closely associated with the text. Words lie, and
actions express the genuine desire and motivation. To action acquired activity,
working with actors, use verbs active:
Drag over.
Fascinate.
Prove pervoskhodstvo.
Whether it is important to present itself as something important.
Do not let the partner change their ways.
Rate by examining the situation.
Admit it.
Threaten,
Instructs.
Tease.
Sure.
Put emotions. Let us all step by step. It is reasonable, logical.
Victory.
Make them cheering. Bring admiration. Pause ... When all eyes are on you.
Watch (externally constrained within active).
I wonder ... Let's wait what happens next. Not so simple.
Show me what do you think.
I realized.And I am not afraid! Oh-oh-oh! What! .. I'm not a fool.
Assess the threat.
I lost !! What have I done ?! This is the end!What is to come up with? In view o
f scary, in fact - no.
Eye exams.
Something's wrong ?! Something's not to like? What? What's so unusual?
Leave a.
It should be fast to understand. Remember something very, very important. Where
is the danger? Where is the mystery?
Measure eyes.
Who are you?The mouse showed teeth? This - is dangerous. And this - bluffing ...
Charged with regret from the top down.
Such a man and such a place. I'm surprised.
Command.
Calm emotions. Give clear instructions. It follows that they have learned: go ..
. do ...
Boast.

Yesterday came back at night. Mom screamed so! I do not care!

Attacks.
Open this door! Destroy it! Let the actors the task of action, but not control e
motions - let them be born from the action: rage, anger, rage, despair.
Provoke, go to the goal by another action. Intriguing.
Call the act is not right, "He is for you - the person does not believe. Are you
one? "
A shocking failure.
With you? Never. (Find a shocking effect.)
Neglecting.
Do something important like a trifle. Walk past, ostentatiously not seeing.
Ironically.
Control your rage I am shocked by your wit.
Involve him in action.
Give it a try yourself. Touch. What do you think? What do you think?
Incites.
Show that it is not respected, tell me what to do. Laugh at him.
Finishing off the word.
| Blame - threaten - Attack - Laugh - humiliate.
Tease.
Make the partner to show a reaction out of him praise. Do you?
Angry.
Look for activities that cause partners to be active.
Destroy all the words.
It can be an action, and can be a monologue. Or furious with vague words.
Beg, plead.
Two or three words of the request may be repeated: a gain. It helps to have a ge
sture, movement.
Get away to himself, but to continue the dialogue.
Yes of course. Save yourself. This is the most important thing. " Saying one thi
ng - think of the opposite. Departing from the dispute. To take decisions contra
ry to the Word.
Touch with love.
Pat the cup. Caress book. Pass through the detail of its emotion.
Pretend modest.
Give up the place in the spotlight. But that is all noticed and appreciated.
Justify uncertainly.
- I came to visit. She went back naked. - Probably, there was no time to dress .
.. Or is she a hobby ...
Justify and prove.
Yes!She was naked! This is its ideology. She nudists! He has the right!
Gifted dawned to reveal the truth.
Imagine something as a gift. Tomorrow will see the movie! A masterpiece! This is
awesome! You have not seen this!
Entertaining, speaking.
Imagine something the show, acting as master of ceremonies: "We have guests! .."
Do not take the reality, hold on his imagination.
Defiantly do not accept the arguments of the enemy in the scene. I do not believ
e it. I just can not believe it. Facts lie.
Surrender.
Okay. We go to the movies. I love you.
[Photo] ... This book is for the person who wants to write a script to make a fi
lm isygrat major role in it ...
AN Mitta
The author thanks the State Committee for Cinematography of Russia in the person
of the Chairman Armen N. Medvedev, deputy chairman Sergei Vladimirovich Lazaruk
. Also, I wish to thank my colleagues in film school at Hamburg University profe
ssor Harku Bohm, Professor Peter Shteynbahu Professor Michael Balhauzu, translat
or and assistant Igor Skvortsov, my colleagues in Los Angeles filmmaker Julia Ro
binson and screenwriter Lien Silver, all students are given examples of work in

the book.
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