Friday, December 29, 2006

Dorm - set-up//pay-off? mix-genre film?

*rebiu ini mengandungi SPOILER TAHAP MAKSIMA! jangan baca habis sekiranya anda belum menonton 'Dorm'!


DORM atau DEK HOR (skrip/arahan Songyos Sugmakanan) ialah sebuah filem Thailand yg menggabungkan genre 'seram' dan 'drama' (coming-of-age) spt yg dihasilkan oleh beberapa filem Hollywood. fyi, utk menulis posting ini, saya telah menonton 3 buah filem selain Dorm iaitu The Exorcism of Emily Rose, The Sixth Sense dan Stand by Me.

saya dapati bahawa The Exorcism.. adalah gabungan genre 'seram' dan 'drama' juga tetapi dlm bentuk yg berulang2/berganti2 tetapi Dorm memisahkan kedua-dua genre di pertengahan cerita dpd 'seram' (spt The Sixth Sense) kpd 'drama' (spt Stand By Me).

adakah Dorm berjaya dlm penceritaannya? anda saksikanlah sendiri di ASTRO-PRIMA pd 1-Jan-07 @5pm (pls check astro-mag utk repeat tx) atau belilah vcd/dvd di kedai2 berdekatan! dan beritahu saya apa pendpt anda? saya tidak akan mendekati Dorm dari sinopsis atau rebiu kebagusan para pelakon atau pembikinnya, (sila rujuk rebiu2 yg bagus dr internet) TETAPI saya akan mengupasnya dari sudut penulisan skripnya yg bercerita dgn penggunaan 'SET-UP' & 'PAY-OFF' yg berulang-ulang di sepanjang cerita.

MAIN-PLOT:
Kisah ups/downs persahabatan Chatree vs Vichien (coming of age)
SUB-PLOTS:
1. Misteri kematian Vichien & kewujudan hantu Vichien
2. Konflik Chatree vs ayah
3. Konflik trauma Cikgu Pranee
4. Konflik Chatree vs kawan2nya
5. Konflik Cikgu Pranee vs Chatree/Vichien
6. Konflik Dr.Nui dgn kisah silam 'hantu' nya
7. Persahatan kumpulan Peng

s/u = set-up
p/o = pay-off

***

s/u: kenapa Chatree 'membenci' Pen/org gaji di rumahnya?
p/o: krn Pen ada hubungan sulit dgn ayahnya
***

s/u: Chatree 'tidak percaya' jika mahukan impian
menjadi kenyataan, dia mesti menahan nafas & berdoa
semasa menyeberangi Sg. Bangpakong
p/o: Chatree 'percaya' di akhir cerita
***
s/u: kenapa Chatree seakan 'membenci' ayahnya?
p/o (palsu): krn menghantarnya ke sekolah asrama
sbg 'hukuman' krn menonton tv berlebihan &
'melihat' perlakuaan sumbang ayahnya dgn Pen
(tetapi ini adalah jangkaan awal oleh Chatree yg
terbukti tidak benar)
p/o (benar): krn ayahnya mahu Chatree meningkatkan
prestasi pelajarannya BUKAN krn 'hukuman' (rujuk pic atas)
***
s/u: apakah yg dilihat oleh Cikgu Pranee dlm laci?
(McGuffin di awal cerita)
p/o: suratkhabar!
***

s/u: apakah kaitan broken-record dgn trauma Cikgu Pranee?
p/o: Vichien 'terlanggar' record itu
***

s/u: apakah benar katil kepunyaan Vichien yg
digunakan oleh Chatree? p/o: yes! krn di bwh katil ada tertulis nama
'Vichien' & Vichien tidur dlm tandas
***

s/u: kenapakah anjing menyalak beramai-ramai?
p/o: krn Vichien menjadi co-ordinatornya!
***

s/u: Vichien hendak meminjam 'game' kepunyaan Chatree
p/o: Chatree meminjamkan/mengajar 'game' itu kpd
Vichien
***

s/u: pintu 'tertutup' sendiri?
p/o: Vichien yg menutupnya!
***

INCITING INCIDENT!/MAJOR TURNING POINT! >> pertukaran genre 'seram' kpd 'drama' (twist & turn @ plot point)
s/u: utk mengelakkan hantu 'nampak' manusia >>
tahanlah nafas!
p/o: sekiranya Vichien 'tidak nampak' manusia
>> dia adalah hantu!
***

s/u: bagaimana Vichien mati?
p/o: tidak sengaja 'lemas' (kakinya cramp semasa pura2 'lemas')
***

s/u: kenapa Vichien 'hilang' semasa Chatree sedang
kencing?
p/o: kerana jam sudah pukul 6pm!
***

s/u: kenapa Cikgu Pranee 'memukul' Chatree
sebegitu?
p/o: krn Cikgu Pranee 'dihantui' oleh insiden
Vichien (maka dia 'memukul' dgn cara yg sama)
***
s/u: apakah kaitan pukul 6pm dgn Vichien?
p/o: Vichien 'mati lemas' exactly pd pukul 6pm!
***

s/u: apakah kaitan suratkhabar kepunyaan Vichien?
p/o: 'punca' Vichien menceroboh bilik Cikgu
Pranee/salahfaham Cikgu Pranee kpd Vichien

***
s/u: ayah 'berikan' hadiah utk Chatree (subtext)
p/o: Chatree 'menerimanya' (terima semula ayah)
***
s/u: menghidu ether boleh 'memisahkan' roh dr jasad

p/o: Chatree mesti menghidu ether utk 'membantu' Vichien dlm alam roh
***

notes:

1. pjg rambut Chatree tidak sekata di sepnjng filem > hayoo! aku rasa nak sekeh sapa yg jaga conti filem nih!

2. Vinchien sebenarnya 'muncul' di 9+ minit di awal cerita!

3. establising shot jam 6pm sebyk 4 kali!

4. ayah Chatree menelefon Chatree sebyk 4 kali!

5. ayah & ibu Chatree memakai wig yg kelakar!

6. 1 dpd 4 'cerita hantu' oleh kwn2 Chatree yg dipaparkan adalah flashback sebenar!


7. klu yg Vichien a/h hantu:

i. nombor pelajar yg terjahit di baju Vichien ialah '15620' sedangkan di baju Chatree ialah '20623' juga di baju rakan2nya '18955' '19013' '19250' dan '19522' >> Vichien adalah pelajar 'lama' lebih dari 10 tahun!

ii. Vichien menasihati Chatree bahawa sepasang seluar mandi sudah mencukupi krn jika ada 2 psg, satu dpdnya akan berkulat! bermakna Vichien mempunyai sepasang seluar mandi TETAPI kenapa seluar itu BERKULAT? >> krn Vichien TIDAK PERNAH menggunakannya lagi!

iii. dialogue: "Vichien 'tahu segalanya' Chumchong!" >> krn dia sudah 'lama' tinggal di situ!


8. Chatree hendak 'terkencing' di waktu tgh mlm sebyk 2 kali!


9. memorable dialogues:

i. Vichien: kau kata tiada siapa pedulikan pasal kau! bagaimana dgn diri kau? adakah kau pedulikan orang lain kecuali diri kau? (kpd Chatree)

ii. Dr.Nui: apa yg peliknya? aku selalu bercakap dengan diriku sendiri! (merujuk Chatree yg
'bercakap' dgn hantu Vichien)


10. memorable scenes: (part2 airmataku leleh sendiri!)

i. Chatree makan malam sambil menangis
ii. Vichien sbg ketua orchestra!
iii. montage Chatree sendirian selepas Vichien 'hilang'/ayahnya datang melawat
iv. Chatree confronting Vichien dlm bilik mandi
v. Chatree melihat Vichien dlm tandas
vi. Vichien 'tinggalkan' Chatree
vii. Chatree confronting Cikgu Pranee
viii. Chatree accepting ayahnya (subtext through dialogue "sekarang saya dah sukakan sekolah ini")

11. pembukaan/penutup cerita dgn voice-over Chatree

***
saya masih mencari subtext/function/jawapan babak2 berikut, pls tell me WHY? WHAT? HOW?

a. apakah subtext/function babak 'menangkap angsa'?
b. bagaimana Chatree 'mengetahui' Vichien adalah hantu? sedangkan babak di padang wayang pacak dilihat dr 'point-of-view' Vichien BUKAN Chatree?

***

lirik lagu dr record Cikgu Pranee:

"hati boleh jatuh cinta, walaupun kita berjauhan, aku masih boleh merasai hatimu, dalam dakapanku, kita pernah saling mencintai (selepas broken-record)...begitu jauh sekali, tapi begitu dekat di hatiku, tiada siapa yg dpt hampir dgn hatiku, kau menyinari hidupku, spt berlian yg bersinar, ciumanmu sungguh manis"

***



***
p/s: fyi, lampu meja aku tiba2 'terpadam' rosak semasa aku menaip posting nih exactly semasa aku preview babak 'tayangan wayang pacak' vcd Dorm ini! mmm, funny or scary?

ajami hashim

Remp-it @astro/ria/jan'07 - biography film?

REF: http://en.wikipedia.org/wiki/Biography

Biography (from the Greek words bios meaning "life", and graphein
meaning "write") is a genre of literature and other forms of media
like film, based on the written accounts of individual lives. While
a biography may focus on a subject of fiction or non-fiction, the
term is usually in reference to non-fiction. As opposed to a profile
or curriculum vitae, a biography develops a complex analysis of
personality, highlighting different aspects of it and including
intimate details of experiences. A biography is more than a list of
impersonal facts like birth, education, work, relationships and
death. It also delves into the emotions of experiencing such events.

***

REMP-IT! Mungkin ada yg mengkritik filem ini sbg sebuah filem
yg 'tidak bernmoral' juga membuka pekung mat2 rempit tanahair!
Mungkin juga ada yg akan mengaitkannya dgn gejala 'merempit' yg
semakin menjadi-jadi akhir2 ini. Atau mungkin anda akan menghentam
fifilem ini sbg sebuah lagi filem Melayu yg merendahkan mentaliti
penonton @ filem sampah! Saya juga pasti tiada sesiapa yg akan
berani mengatakan bahawa filem ini mengandungi sebarang mesej.

Ya! Mungkin kesemua pendapat/kritikan di atas itu ada betulnya!
Kenapa? Kerana REMP-IT ialah sebuah filem biografi seorg 'mat
rempit' bernama Madi & dunia 'liar' sekitarnya. Itu sahaja! Ianya
bukan filem dakwah. Bukan filem komidi (walaupun ada unsur2 komidi
dr lakonan mantap Cat Farish). Bukan filem drama spt 'Cinta'. Bukan
filem moral argument spt 'KL Menjerit'. REMP-IT sejujurnya bercerita
mengenai realiti kehidupan mat2 rempit yg selama ini saya sendiri
kurang pasti; misalnya mat rempit pergi ke disco juga lepas
merempit? atau banyakknya duit mat rempit perlu habiskan utk meng-
upgrade motor mereka! atau mat2 rempit lebih menghargai alam
semulajadi iaitu berkelah di air terjun! Atau slanga2 spt 'bil air
dah lama tertunggak'.. 'bai'.. etc.. Ok! Ok! Saya bukan berjenaka!
Tetapi sejujurnya saya mendapat 'ilmu' mengenai who is mat rempit
dlm filem ini.

Maka pada pendapat saya, REMP-IT berjaya sbg sebuah filem yg
menghiburkan dlm ertikata menampilkan aksi2 berani mati mat2 rempit
sejati, memberikan jawapan utk memahami mentaliti mat2 rempit (spt
motor lebih berharga dr awek atau bunyi rempitan motor lawan lebih
menyakitkan hati dpd leteran ibubapa) atau mengkagumi 'keberanian'
mereka yg saya sendiri tidak mampu lakukan! Maksud saya, REMP-IT
adalah dunia imaginasi kita (untuk 1.5jam) sbg penonton
yg 'berkereta' 'ber-LRT' 'ber-bas' atau 'ber-kapalterbang' utk
berhibur dgn 'meletakkan' diri kita spt mereka dimana kita TIDAK
AKAN MAMPU melakukannya! (escapism)

Lupakan pasal moral bila menonton REMP-IT krn ia bukannya tiada,
tetapi ianya sekadar 'penutup' cerita di akhir babak & tulisan
sebelum closing-credit. Ibubapa juga seumpama eksesori di motor
mereka iaitu sekadar wujud sbg 'ibubapa' di rumah mereka
BUKAN 'ibubapa' yg memelihara mereka. REMP-IT hanya 'bercerita'
bukan 'berhujah'.. REMP-IT adalah visual storytelling BUKAN
dialogue/naratif meleret bla bla bla..

Kesempulannya, sekiranya anda BOLEH menerima KILL BILL vol.1/2 sbg
hiburan.. maka REMP-IT juga hiburan ringan! Masuk telinga kanan,
keluar telinga kiri. Noktah.

ajami hashim

Bilut @astro/abom/jan'07 - FELDA backstory!


komen aku:

- backstory FELDA (corporate video kata NizamZakaria)

- non-linear storytelling

- brussels's plot agak 'terkejut' digarap di tgh2 cerita seolah2 ada2 separate stories yg berbeza genre 2-in-1: period + love-story?- lompatan masa (non-linear) di tgh2 mcm kelam-kabut & rushing

- too many characters diperkenalkan tiba2 di tgh >> ke hujung (sub-plot bykkk sgt) >> kena baca betul2 'super' tarikh yg timbul katarea bwh screen!

- kesimpulan on story-structure: filem ni sesuai dijadikan mini-series utk huraikan sub-plot yg bercabang2 itu!


- special-effect & kerja-kamera & set meletops! kudos to Bade!

> ribut >> huyoo! 1 kg korang ranapkan!> banjir besar! >> baper byk air korang nk takung tuh?> make-up rosyam tua >> realistik!> misai lebat que >> hahaha!

> lipan gigit kaki eja >> eee!

> sofi jikan cubaan 'merogol' >> mmm!


-lakonan/watak:
> rosyam >> watak 'kacang' for him

>hasnol rahmat >> lu memang jahat bro! gua suka lakonan lu!
> eja >> tipikal 'eja' (nak komen apa lagi tak tao?)

> jerrico >> baper agaknya FELDA pay him erk?

> rushdi >> ook! ok! err! err! (*aku pon dah kenan gagap!) goodactor!
> adlin >> wahhh! mandur of the year!

> aqasha >> gemuk/debab! ok ok! he's good!

> sofi jikan >> bayar! bayar! bayar! (*erk! tu dialog filem lain diakan?) he's good too!

> bront >> baru nak suka! kedush! dah mati!

> yasmin hani >> adakah semata-mata dia pandai ckp jerman? ok ok she's pretty!

> ezlynn/cellina/lisda/biego >> cameo 'org2 lawa/hensem' as xtra-flavour bilut

> harimau/gajah/lipan/burung2 gagak >> cameo haiwan terkini filemMsia!

> org2 asli >> cameo 'bontot' yg lulus LPF!

> pak2 menteri >> cameo menteri2 dlm filem as 'themself'! exclusivetuh!

>> kos pembikinan: 3juta++!! >> fuyooo!

Wednesday, December 06, 2006

cinta (2006) - advantages & problems? (pt.3)


UPDATED POSTING!!!

Penulisan skrip/lakonlayar ensemble film spt ‘cinta’ berisiko dlm ‘pengawalan’ cerita yg hendak disampaikan krn ada lebih dr 1 main-plot yg hendak digarap dlm sebuah filem yg hanya memberikan screening-time selama 2 jam. Bagaimanakah Mira Mustaffa & Abdul Rahman Ahmad (Ara) menangani masalah ini? Dari kelima-lima cerita itu, bagaimanakah mereka ‘memilih’ penceritaan yg terbaik shj dr setiap cerita utk ditonjolkan dgn sempurna?

Menurut buku Linda Aronson, pg.186-188;

Control is really a planning problem, which is another way of saying that it is a structural problem. There are 3 main control or structural problems with tandem & sequential narrative, all interconnected:

1. closure & meaning
2. pace & jeopardy
3. length


ajami huraikan *dr pendpt aku yg cetek ilmu ini, so if Mira or Ara baca, korang jgn marah erk!

1. closure & meaning

‘penutup’ & ‘makna’ utk ‘cinta’ bergantung kpd pilihan terbaik setiap dr kelima-lima cerita. Inilah kelebihan ‘cinta’ krn dpd tagline/poster ia sudahpun dipecah2kan kpd 5 jenis kisah cinta yg khusus dgn hanya 1-2 perkataan:

1. unggul
2. romantis
3. abadi
4. sepenuh jiwa
5. tulus

*tagline: "10 bintang.. 5 kisah cinta.. 1 cerita.."

ia memudahkan utk memberi setiap closure/meaning bagi setiap cerita kpd penonton. ianya spt ‘book-chapter’ kisah A,B,C,D & E.. contoh terbaik ialah Kill Bill vol.1 cuma ‘cinta’ tidak perlulah sampai ke tahap extreme sebegitu krn tv-radio-promo/poster/tagline sah2 dah jelaskan ada ‘5 cerita’ kan?

maka, dgn pembahagian yg jelas itu, setiap cerita dibuka, ditayang & ditutup dgn mudah! so, apakah closure ‘cinta’? oh! btw, closure cuma ‘menamatkan’ setiap cerita BUKAN konklusi lengkap setiap cerita!

Kawan aku: kan semua cerita disimpulkan kat akhir pelem tu?

Aku: ya! konklusi utk setiap cerita depa yg dikongsi utk 2 jam tu jer.. but bukan konklusi penuh samada diaorg happily ever after or not, forever-ever together-gether sampai mati or not? kita tak tau coz kabir ada 2 jam jer nak citer 5 kisah cinta katanya! maybe dia nak buat sekuen ‘cinta 2’ kot kalau box-office, kalau GB nak untung lagi.. sapa tau kan?.. pd pndpt aku, suma citer ada closure!

Kawan aku: wadafak ko ckp nih?

Aku: ops! aku terover explain plak, sori erk, aku lupa ko lay-man dan aku cicak-man! wakakaka! takpelah brader, lu baca blog gua, later lu paham apa yg gua maksudkan!

Kawan aku: blog tu apa brader? yg aku tau vcd blok 404 yg ‘seram’ yaaa amatss tu jer!

Aku: hampehhhh!

Closure ‘cinta’:
1. Rubiah+Cikgu Elyas – scene Amin ‘serahkan’ Cikgu Elyas kpd Rubiah
2. Azlan+Azura – scene Azlan ‘meminang’ Azura dlm ERL
3. Dyan+Dhani – scene Dhani ‘membaca surat’ dr Dyan kat kubur
4. Haris+Alisa – scene Alisa ‘membaca/menatap’ lukisan2 Haris
5. Arianna+Taufiq – scene Arianna ‘memeluk’ Taufiq balik dr KL Sentral

Meaning ‘cinta’?:
>>> korang gi website ‘cinta’ & baca kat synopsis or tengok poster diaorg, suma ada kat situ saya tak payah nak ulas, idakpon korang pergi merayau-raraulah kat blog.. yg the best in my pov:

dunia-vovin

tontonfilem

sultanmuzaffar

eddvedder

maddox24

and btw, meaning ‘cinta’ utk setiap cerita juga bergantung kat korang punya past experience or interpretation sendiri mau ingatlah! kabir, mira, ara even GB tak kan marah if korang ‘salah’ tafsirkan meaning filem diaorg tu!.. saya pun ada my own meaning.. mcm siti kata: ‘biarlah rahsia’.. if nak tao gak, korang kena tanya my wife coz dia dah ‘lali’ telinga bila aku elaborate pjg-layar-lebar kat dia!.. luv u honey!.. *promote isteri sndiri kaedahnya?..

2. pace & jeorpardy

closure & meaning merujuk kpd ‘pengawalan’ cerita mana yg hendak ditonjolkan, pace merujuk kpd practical storytelling.

Pembaca blog ini: Apakejadahnya itu ‘pace’? Pelem ThePiecemaker aku taulah!

Aku: Erk! Ko nak kena baling dgn helmet full-face aku tak?

Pace atau bahse melayunya menurut kamus buruk kecik saya Collins Gem (1986 – revised edition oleh Haji Abd Rahman bin Yusop) pace – langkah; (gait???) cara atau gaya berjalan.. dlm ertikata penulisan skrip ialah ‘perjalanan cerita’ sesebuah filem.

Pace can be a problem in ensemble film:
1. the setting up of individual stories, because each requires exposition & backstory >> dlm ‘cinta’ ia tak de masalah coz exposition & backstory nya dijelaskan dgn mudah. maksud saya, ianya melalui dialog & ‘tell a story in cuts; through a juxtaposition of images (montage) that are basically uninflected’ > Rujuk my prev posting. Contoh: flashback Dyan-Dhani, Cikgu Elyas ‘gunting rambut’ *tunggu next posting saya kupas more on subtext/exposition/backstory ‘cinta’
2. telling the stories, because redundant conflict or other redundant material can slow the film down >> yes, ‘cinta’ ada gak yg kalau diteliti betul2 ada scene yg redundant misalnya scene ‘airmata’ back2back Harris & Dyan & Arianna semasa lagu ‘perpisahan’ anuar zain yg bersuara lunak boleh tarik pitching tinggi itu! TETAPI, ianya TIDAK MELEMBABKAN CERITA atau terasa slow coz saya anggap ianya redundant-scene ‘leleh & cengeng’ terbaik filem melayu terkini! Begitu juga dgn closure yg ‘terpaksa’ ditunjukkan back2back *rujuk kat atas.
3. moving between stories, where a jump at the wrong time can cause slowing >> dlm ‘cinta’ ianya terasa tak dragging/meleret-leret coz putaran kelima-lima cerita iaitu pemilihan kronologi cuts oleh kabir yg di-edit dgn chanteknya oleh akash singh & naeim ghalili telah berjaya ‘menganyam’ kelima-lima cerita keluar-masuknya dgn excellent! *mengayam! yg tu tanya akak.fiebie dia expert! matilah kena maki!

Esemble film spt ‘cinta’ juga berisiko samada setiap cerita mempunyai cukup masa utk mengetengahkan rising jeopardy to hold the audience’s attention, given the existence of all the other stories? coz limited screening-time 2 jam jer! How about ‘cinta’? Cukupkah the raising jeopardy nya? In my opinion, oklah.. not bad.. Kita disogokkan dgn konflik masing2 sepantas kilat editing-nya mcm tgk mtv/iklan korporat di awal cerita satu-persatu:

1. Rubiah+Cikgu Elyas – Rubiah hopeless love-life vs Cikgu Elyas hopeless life
2. Azlan+Azura – Azlan the most eligible bachelor/introvert vs Azura the most eligible bachelor/extravert
3. Dyan+Dhani – Dyan meaningful physical life/hopeless love-life vs meaningful life ala-kadar/sakit
4. Haris+Alisa – Haris hopeless romantic love-life bagai nak-rak vs Alisa romantic love-life but dgn org lain/berubah hati
5. Arianna+Taufiq – Arianna meaningful romantic love-life but kejar bayang2 (khalif) vs Taufic hopeless love-life yg hampeh and kejar bayang2 jugak (arianna)

So, jeopardy konflik ‘cinta’ kelima-lima cerita berasingan dibuat dgn giliran secepat-cepatnya di awal cerita supaya penonton nak tengok what going to happen next? Susah tu!!!

3. length
risiko terakhir utk ensemble film ialah screening-time yg terhad iaitu 2 jam shj! Kerana sekiranya semakin meleret-leret salah satu atau kesemua dr kelima-lima cerita itu akan mengambil risiko penonton akan penat, keliru, hilang konsentrasi, rasa nak keluar jer dr panggung atau mereka akan mula membebel atau menge-check sms kat hp diaorg! Length yg tidak dikawal juga akan menyusahkan Alternate Studio coz GB akan sound diaorg bila dah over-budget shooting ‘cinta’ kan? Btw, InsyaAllah ‘cinta’ boleh collect juta2 nak pulangkn modal GB & kasi xtra bonus kat kabir, crews, actors, keluarga & keluarga mereka!

***

extra info from internet:

ref: http://www.mwp.com/seminars/travis.php4 For the audience, the moviegoing experience represents anemotional journey and offers a sense of closure at the end. ~Mark W. Travis

ref: http://www2.hawaii.edu/~lady/fict/travis.html Many times closure is not what the characters wanted, but it does end the story. (For instance, ironic closure.) Closure doesn't necessarily mean ending the gap, but it does mean that the story can't go any further.

ref: http://www.csmonitor.com/2003/1107/p16s01-almo.html

...But in "Love Actually" there are 22 main characters and nine parallel storylines! Furthermore, the movie is about the many faces of love - platonic, parental, unrequited, and adulterous, among others. It may be a romantic comedy but, notes producer Tim Bevan, "nobody in this film actually says, 'I love you.' ~ Richard Curtis

***

ref: http://www.magnoliamovie.com/MAGinfo.html

'Magnolia' - On one random day in the San Fernando Valley, a dying father, a young wife, a male caretaker, a famous lost son, a police officer in love, a boy genius, an ex-boy genius, a game show host and an estranged daughter will each become part of a dazzling multiplicity of plots, but one story. Through a collusion of coincidence, chance, human action, shared media, past history and divine intervention they will weave and warp through each other's lives on a day that builds to an unforgettable climax. Some will seek forgiveness, others escape. Some will mend frayed bonds, others will be exposed. ~Paul Thomas Anderson

***
ref: http://www.cineschool.org/resources/Crash.pdf

'Crash' tells the story of a group of very different people and the way in which their lives intersect over a period of twenty-four hours. As the film begins, each episode in the narrative seems separate and unrelated but as the story progresses, the lives of these different characters are woven together in an intricate tale of how human beings react to, and interact with, each other. What we experience is a complex web of parallel narratives as we follow each character or set of characters through their day. ~Paul Haggis

***
*krn ke-extreme-man minat tahap 'gaban' terhadap filem 'cinta' yg saya kategorikan sbg ensemble film, maka saya ingin meng-kompangkan bhw di hollywood sekrg tgh menayang filem BOBBY (w/pon kabarnya agak flop) tetapi wajar utk ditonton sekiranya anda juga 'curious' psl posting2 saya ni!
ref:
"Bobby" re-imagines one of the most explosively tragic nights in American history. By following the stories of 22 fictional characters in the Ambassador Hotel on the fateful eve that Presidential hopeful Senator Robert F. Kennedy was shot, writer/director Emilio Estevez and an accomplished ensemble cast forge an intimate mosaic of an America careening towards a moment of shattering change - as different characters navigate prejudice, injustice, chaos and their own complicated personal lives, while seeking the last glimmering signs of hope in Kennedy's idealism. In exploring the diverse experiences of ordinary people, the film celebrates the spirit of an extraordinary man and servers as a snapshot of this emblematic time in history.




***
next posting 'subtext/exposition/backstory' coming soon!!!

Monday, December 04, 2006

cinta (2006) - plural/multi protagonist? (pt.2)


*sila baca my previous posting!!! (pt.1)

Kumpulan Kecil (pasangan masing2)

Generally, the protagonist is a single character. A story, however, could be driven by a duo, a trio, more, an entire class of people, create a massive Plural-Protagonist.

For two or more characters to form a Plural-Protagonist, two conditions must be met:

1. all individuals in the group share the same desire - setiap pasangan dlm 'cinta' berkongsi kehendak yg sama iaitu utk 'mendptkan/mengenali erti cinta'

2. in the struggle to achieve this desire, they mutually suffer & benefit; if one has a success, all benefit, if one has a setback, all suffer. within a Plural-Protagonist, motivation, action, and consequence are communal - setiap pasangan dlm 'cinta' akan melaui kronologi ke arah 'kebahagiaan'/'kegagalan' bersama-sama

Kumpulan Besar (nisbah 3:2)

A story, may on the other, be Multi-Protagonist. Here, unlike the Plural-Protagonist, characters pursue separate & individual desires, suffering & benefiting independently. Multi-Protagonist stories become Multi-Plot stories. Rather than driving the telling through the focused desire of a protagonist, either single or plural, these works weave a number of smaller stories, each with its own protagonist, to create a dynamic portrait of a specific society.

ref: Story: Substance, Structure, Style and The Principles of Screenwriting by Robert Mckee (pg136 & 137)

***

In films like these, Multiple Protagonists/Antagonists take in turns to fulfil the structural tasks carried out in the normal 3-act structure by one character alone. This is why there is no sense of disjunction in films like these when suddenly a character (kisah cinta pasangan masing2) whom we have been following as protagonist steps out of the limelight & another takes its place.

Films employing multiple protagonists or charismatic antagonists have 2 aims:

1. they explore versions of the same social role which display different approaches, concerns, and solutions - kisah sebahagian masyarakat KL (2 sebuah kump. besar) menangani konflik cinta

2. they study the dynamics & story of the group itself - kisah cinta pasangan masing2 yg berkaitan (secara langsung/tidak sengaja) melalui karier/lokasi sesama kump. kecil

ref: Screenwriting Updated: New (and Conventional) Ways of Writing for the Screen by Linda Aronson (pg. 221 & 222)

***

Kelima-lima pasangan dlm 'cinta' adalah kump. kecil yg bercerita secara berasingan dimana mempunyai act1/act/act3 atau set-up/confrontation/solution atau beginning/middle/end atau kepala/badan/ekor masing2 TANPA terikat sbg 'sub-plot' kpd mana2 cerita kump. kecil yg lain. Kesemua cerita adalah MAIN-PLOT yg berkongsi screening-time.

Kelima-limanya bergiliran utk bercerita dlm 'putaran' yg mudah difahami tanpa penonton merasa jemu atau keliru utk mengikuti cerita yg mana satu? Kepandaian suntingan filem ini misalnya melalui kesamaan lokasi di restoren Rubiah dan pejabat arkitek memudahkan pertukaran giliran cerita dr satu kump.kecil >> kump.kecil yg seterusnya dilakukan dgn lancar tanpa jump-cut atau mengelirukan penonton.

*next posting: masalah & risiko penulisan skrip ensemble film.

ajami hashim

Sunday, December 03, 2006

cinta (2006) - ensemble film/multiple storyline/parallel storytelling? (pt.1)



The traditional three-act film structure typically follows one protagonist through an action line (main-plot) and a relationship line (sub-plot). Flashback narative, tandem narrative and sequential narrative all fit a number of different stories (often with the same theme but different protagonists) into one film. However, there are certain kinds of films, particularly what are often known as ensemble films, which do not fit either the traditional three-act structure or any of the parallel story structures. Although they deal with one sequence of events and are set prodiminantly in one time frame, they do not have single protagonist on a single journey. They tell the story of a group, each member of which has much the same importance, and is followed through their own journey as the group itself makes a journey. Films like this are actually using a different form of parallel storytelling. This form employs a number of protagonists of more or less equal importance who are all versions of the same character type. These films fall into a structural category that can be thought of as multiple protagonist/antagonist structure. In films like these, multiple protagonists or antagonists take in turns to fulfil the structural tasks carried out in the normal three-act structure by one character alone.

*ensemble film - The Big Chill, Tea With Mussolini, The Magnificent Seven, Saving Private Ryan, American Beauty,

* tandem narrative film - runs interconnected stories together in parallel as City of Hope, Crimes and Misdemeanors, Short Cuts, Magnolia, Sliding Doors,

* sequential narrative film - shows separate but interconnected stories one after the other, linking them at the end; each story is usually introduced with a subtitle then told uninterrupted up to a dramatic high point, when the next will start. close to the end of the film each story is rivisited and concluded in a final section that explains the link between all the stories. examples: Pulp Fiction, Go.

Films employing multiple protagonists or charismatic antagonists have two aims:

1. they explore versions of the same social role which display different aproaches, concerns, and solutions

2. they study the dynamics and story of the group itself

ref: Screenwriting Updated: New (and Conventional) Ways of Writing for the Screen by Linda Aronson (pg.185, 221, 222)

***

ajami kata: saya bukanlah seorg filmmaker/screenwriting guru.. tetapi saya ingin 'membantah' teori huraian oleh buku Aronson di atas krn dia telah memecah-belahkan takrifan 'ensemble film' dr kajian/tulisan bukunya itu! dan inilah takrifan 'ensemble film' dr pemahaman saya sendiri! *aku 'berani-mati' nak lawan teori structure Aronson nih!!! sebelum tu, sila klik & baca takrifan 'ensemble film' berikut:

ref: http://en.wikipedia.org/wiki/Ensemble_film

Aronson terlalu merumitkan takrifan what is 'ensemble film' .. pd pndpt saya, ensemble film ialah:

"filem yg mempunyai lebih dari 1 cerita sbg MAIN-PLOT, lebih dari 1 protagonist/antagonist yg SAMA PENTING, dimana gabungan kesemuanya akan menghasilkan sebuah cerita yg lengkap"

ensemble film TIADA pengkhususan spt yg Aronson nyatakan dlm bukunya! ianya bergantung kpd kreativiti penulis skrip yg menggarap ceritanya! jadi, kesemua filem di bawah ini ialah 'ensemble films':

City of Hope, Crimes and Misdemeanors, Short Cuts, Magnolia, Sliding Doors, Love Actually, Crash, Syriana, Pulp Fiction, Go,


saya menambah sendiri filem2 ini: Rashomon, Cinta, Gubra, Gangster, Keluarga69,

***

'cinta' pd pndpt saya ialah sebuah filem yg sgt teliti/kemas/brilliant dr segi penulisan lakonlayar-nya & mudah difahami (dan ditangisi) oleh penonton *w/pon diaorg TAK BACA blog bicaraskrip nih! InsyaAllah saya akan cuba mengupas 'bagaimana' structure lakonlayar oleh Mira Mustaffa & Abdul Rahman Ahmad (Ara) *berdasarkan tontonan org awam yg membeli tiket dgn duit sendiri!

***

"tingkap dah buka.. pintu dah buka.. kalau awak menjerit semua orang boleh dengar.. kecuali, bila keretapi lalu" ~ Taufiq to Arianna (set-up)

dlm babak kemudiannya, semasa keretapi sedang lalu dgn bunyi yg bingit.
"saya cintakan awak" ~ Taufiq to Arianna (pay-off)

***
ref: http://www.scriptmag.com/earticles/earticle.php?535

The Screenwriting Juggling Act: Multiple Storyline Scripts
Author:Karen A. LefkowitzMay 13, 2006

Linear narrative getting you down? Tired of living with just one protagonist? Plot-A and subplot-B boring you? The solution to your creative slump may lie in an alternative writing method: parallel storytelling.

Also known as the multiple protagonist/antagonist or multiple storyline structure, parallel storytelling is essentially the story of a group. Various members of this group go through a sequence of events where a common problem reveals itself through a journey, and a central theme emerges out of the relationships that form between the various plots. Some movies that feature parallel storytelling are: Nashville, Do The Right Thing, Pulp Fiction, Magnolia, Traffic, Love Actually, The Hours, and the 2005 trio of Sin City, Syriana, and, of course, Crash—the surprise winner at this year’s Academy Awards®, taking Best Picture and Best Original Screenplay.

There are even some fairly linear films that operate as multiple storyline pictures. American Beauty is a great example. This tale of suburban boredom features various plots, each with its own three-act structure. Every plot focuses on one particular individual and how they feel suffocated by their current existence and set out to change things. The film begins with Lester’s journey, but also follows the distinct yet intersecting storylines of his wife Carolyn, daughter Jane, her friend Angela, and the neighborhood father and son Frank and Ricky. If you elect to go with a parallel storyline script, here are some helpful tips:


• Before even beginning the writing process, answer the questions: Why go with a multiple storyline structure? What is the purpose of telling the story in this way? Is there a common thread between intersecting story ideas? If you have concrete answers, proceed. If not, go back to the drawing board, laptop or notebook and re-evaluate the tale you are trying to tell.

• Once you’ve committed to parallel storytelling and are ready to begin, purchase a corkboard and use paper, push pins, highlighters and different-colored pens to create a visual guidepost to keep all the stories on track. Create separate sheets for each plot and give each a title, or at least a short summation. Include on the sheet the protagonist and his problem, (add minor characters if possible) and if you have one prepared, a beat or step sheet. Use colored push pins, highlighters or markers to show the connecting thread throughout each storyline. The point is to show the relationship that connects each storyline to the greater theme—the central idea of the film.

• Watch character development. This is especially important with an ensemble cast. All the characters must be three-dimensional, have a purpose/goal, and have an identifiable arc. Character profiles are extremely helpful when dealing with a large number of protagonists and antagonists who all deserve the writer’s attention.

• Each plot, no matter how much page space it takes, still requires all the elements necessary in a linear narrative. Each plot must have a beginning, middle and end; a protagonist with a problem; and some sort of change or resolution that occurs by the end—each story must play out to fruition. In Crash, one storyline follows two carjackers, Anthony and Peter (Ludacris and Larenz Tate), who have very little morals and want to continue with their criminal lifestyle. By the end of the film, things have changed. Instead of selling a stolen van containing illegal immigrants, Anthony lets the frightened people go, leaves the vehicle where he originally found it, and takes a bus home—something he said he’d never do.


• Make sure that all of your scene transitions are very carefully worked out. In parallel storytelling, it is of the utmost importance to pay close attention to the transitions from one storyline to the next. The more plots you have, the more complicated it gets to keep things from becoming confusing and leaving the audience with a jerky feeling. The story must never appear choppy, which is one of the most common mistakes in parallel storytelling. Be painstaking in crafting smooth transitions or the entire structure will collapse.

• The theme of your film should be a guiding force in each storyline. If it isn’t, you need to go over why you’ve chosen the parallel structure. One of the purposes of a multiple storyline script is to really showcase the central idea of the film from different perspectives. This aids in strengthening what is at the heart of the story and will become most apparent by the end of the picture. In Love Actually, which features at least eight intersecting storylines, the message of the film is that no matter where you look, love is always around. The theme of the film truly comes alive in the great ending scene featuring all of the characters at Heathrow Airport with their various loved ones.


• Keep an eye on the clock, or in this case, page numbers. When dealing with multiple plots, it is easy to get caught up in the many scenes and moments of your story. Watching length is critical. If that average 100-page script becomes overly-lengthy and cumbersome, conscious decision-makers (readers/agents/managers) are going to abandon the script. Pay close attention to how much time is devoted to each storyline. It is best to allocate equal weight (or as close to) for each story. This is why it is advantageous to organize a beat/step sheet so the exact number of scenes for each story are already outlined. If a problem arises, alterations can be made at the beginning, thus cutting down on time-consuming rewriting.

Writers should always be reading, so take a little break from your intersecting stories to stop by one in the chain of Samuel French bookstores which have shelves of material on the screenwriting process. Two books that devote chapters to this alternative narrative method are Advanced Screenwriting by Linda Seger and Screenwriting Updated by Linda Aronson. This unique approach to storytelling can lend itself to some tremendously engaging entertainment. Keep the above tips in mind and study other films with this structure to see what works and what doesn’t.
Happy Writing!

ABOUT THIS AUTHOR
Karen Ann Lefkowitz received her master's degree in communication management from the University of Southern California in May of 2004. She currently works at UCLA's School of Theater, Film and Television. As a freelance writer, she has written art and entertainment pieces for print and online publications. *nasib baik nama author article ni NOT 'linda' gak! kalau idak, harus ajami tukau nama: linda hashim! wakakakaka!

***


saya sebenarnya tersgtttlah obsesi pd filem 'cinta' krn setelah sekian lama saya 'berhenti' menonton filem2 melayu di pawagam & hanya menunggu tayangan ulangan di tv atau semasa kerja2 meng'house-master'kan tape utk tayangan ASTRO-BOXOFFICE-MOVIES atau ASTRO-RIA shj sudah memadai bagi saya utk 'berhibur kosong' dgn 1001 tema yg disogokkan *haaa! ekau mengaku pon! cuma saya pernah terkilan krn tidak sempat menonton filem 'sepet' & 'gubra' di pawagam krn kesibukan kerja. tetapi dah rezeki saya utk mendapat special screening 'mukhsin' dr sang pengarahnya sendiri & hadiah percuma 'rabun' (vcd).. thanks to my own 'blog bicaraskrip' yg tak seberapa ini krn secara tidak sengaja, beliau sudi bersahabat dgn saya atas dasar passion kami yg sama mengenai storytelling. beliau dgn filem2nya, saya dgn scriptwriting. *erk! adakah ekau 'hipokrit'? nak tulis skrip tapi tak pergi tengok filem tulisan skrip org lain kat pawagam? yaa adoo?? ok, back to 'cinta'.. dek krn obsesi saya itu, maka saya akan hasilkan beberapa parts posting saya khusus untuknya.. *ekau gilo ko apo nak rebiu byk2 kali???

tagline: "10 bintang.. 5 kisah cinta.. 1 cerita.."

apakah maksud "5 kisah cinta"

"5 kisah cinta" ini sebenarnya terbahagi kpd 2 kumpulan besar (nisbah 3:2) berdasarkan perkaitan rapat dr segi 'perhubungan' atau 'lokasi' iaitu:

*kumpulan #1 'perhubungan' kerja/persahabatan:

Azlan+Azura//Haris+Airin+Alisa//Dyan+Dhani

*kumpulan #2 'lokasi' restoren/kerja:

Cikgu Elyas+Rubiah//Arianna+Taufiq

bagaimanapon, kedua-dua kump besar ini kadangkala akan 'bertembung secara tidak sengaja' antara keduanya atau di antara sesama 'kump kecil' masing2 atau dgn 'kump besar' *konpius??? kelima-lima cerita (main-plot bertemakan cinta) itu bergerak ke depan dgn protagonist/antagonist/sub-plot masing2 secara berasingan menggunakan asas cerita 3-act structure.

oklah cukup setakat ini krn 'panggilan' kerja penyiaran 15TH ASIAN GAMES DOHA bermula semalam di saluran ASTRO: ch 83, 84, 85 & 86 ! akhirkata, majulah sukan utk negara!! *promote! jgn tak promote!

ajami hashim

Monday, November 27, 2006

WHAT IS A SCREENPLAY by Syd Field

"I don't think you should feel about a film. You should feel about a woman, not a movie. You can't kiss a movie." ~ Jean-Luc Godard

"i myself think i'm so bodoh that i usually don't bother to interpret anything in a film. i just look for aspects of humanity which may mirror me in an honest way. in short, i just sit back and dengar cerita. kalau nangis, nangis lah. kalau ketawa, ketawa lah. i watch films like a child would. i don't care how much subtext or semiotics or dramatic ironies or whatever the filmmaker put into into his shot, if he failed to move me, he failed." ~ Yasmin Ahmad

Alfred Hitchcock, the master of suspense and audience manipulation, once said to Ernest Lehman, while they were filming North by Northwest, "We're not making a movie; we're making an organ, like in a church. We press this cord, the audience laughs. We press that cord, and they gasp. We press these notes and they chuckle. Someday, we won't have to make a movie. We'll just attach them to electrodes and play the various emotions for them to experience in the theatre!"
ref: Writing for Emotional Impact by Karl Iglesias (pg.13)

***

*Ilmu utk dikongsi dr buku Screenplay : The Foundations of Screenwriting by Syd Field ISBN:0385339038 (page 19-20)


What is a screenplay? Is it a guide, or maybe an outline, for a movie? A blueprint, or a diagram? Or maybe it’s a series of images, scenes, and sequences strung together with dialogue and description, like pearls on a strand? Perhaps it’s simply the landscape of a dream?

Well, for one thing, a screenplay is not a novel, and it’s most certainly not a play. If you look at a novel and try to define its fundamental nature, you’ll see that the dramatic action, the story line, usually takes place inside the head of the main character. We see the story line unfold through the eyes of the character, through his/her point of view. We are privy to the character’s thoughts, feelings, emotions, words, actions, memories, dreams, hopes, ambitions, opinions, and more. The character and reader go through the action together, sharing in the drama and emotion of the story. We know how they act, feel, react, and figure things out. If other characters appear and are brought into the narrative line of action, then the story embraces their point of view, but the main thrust of the story line always returns to the main character. The main character is who the story is about. In a novel, the action takes place inside the character’s head, within the mindscape of dramatic action.

A play is different. The action, or story line, occurs onstage, under the proscenium arch, and the audience becomes the forth wall, eavesdropping on the lives of the characters, what they think and feel and say. They talk about their hopes and dreams, past and future plans, discuss their needs and desires, fears and conflicts. In this case, the action of the play occurs within the language of dramatic action; it is spoken in words that describe feelings, actions, and emotions.

A screenplay is different. Movies are different. Film is a visual medium that dramatizes a basic story line; it deals in pictures, images, bits and pieces of film: We see a clock ticking, a window opening, a person in the distance leaning over a balcony, smoking; in the background we hear a phone ringing, a baby crying, a dog barking as we see two people laughing as their car pulls away from the curb. “Just making pictures”. The nature of the screenplay deals in pictures, and if we wanted to define it, we could say that a screenplay is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.

That is its essential nature, just like a rock is hard and water’s wet.

Because a screenplay is a story told in pictures, we can ask ourselves, what do all stories have in common? They have a BEGINNING (act 1/set-up), MIDDLE (act 2/confrontation) and an END (act 3/resolution), not necessarily in that order, as Jean-Luc Godard says. Screenplays have a basic linear structure that creates the form of the screenplay because it holds all the individual elements, or pieces, of the story line in place.

ajami hashim

Saturday, November 25, 2006

james bond 007: casino royale - JB backstory!

" Now you can tell all your friends that you died scratching my balls!"
- James Bond




updated: 23nov'06 (1:30am)

salam 2 all my readers..

ajami just balik tgk
'james bond: casino royale' dan inilah rebiu ajami psl 'screenplay' kolaborasi oleh:

-
Neal Purvis
-
Robert Wade
-
Paul Haggis

sblm tu pls baca quote dr buku
Story: Substance, Structure, Style and The Principles of Screenwriting by Robert McKee (pg.103 & 104)

***

CHARACTER ARC: Taking the principle further yet: The finest writing not only reveals true character, but arcs of changes that inner nature, for better or worse, over the course of the telling.

***

CHARACTER REVELATION

The revelation of true character in contrast or contradiction to characterization is fundamental to all fine storytelling. What seems is not what it is. People are not what they appear to be. A hidden nature waits concealed behind a facade of traits. No matter what they say, no matter how they comport themselves, the only way we ever come to know characters in depth is through their choices under pressure.

..there have been nearly twenty Bond films. Bond goes on and on because the world delights in the repeated revelation of a deep character that contradicts characterization. Bond enjoys playing the lounge lizard: Dressed in tuxedo, he graces posh parties, a cocktail glass dangling from his fingertips as he chats up beautiful women. But then story pessure builds and Bond's choices reveal that underneath his lounge lizard exterior is a thinking man's Rambo. (comparing to Rambo's flat pattern to James Bond) This expose of witty super-hero in contradiction to playboy characterization has become a seemingly endless pleasure.

Taking the principle further: The revelation of deep character in contrast or contradiction to characterization is fundamental in major characters. Minor roles may or may not need hidden dimensions, but principals must be written in depth - they cannot be at heart what they seem to be at face.

***

ajami bukanlah 'die-hard-fan' James Bond's francise films. tapi Casino Royale mengajar teknik menulis 'perwatakan' dlm sesebuah skrip. sblm ini saya 'kurang selesa' dgn watak super-duper-mega-hero JB coz dia sgt ego, gilakan pompuan, minum wain yg mahal2, bermewah-mewah dgn kereta & wardrobe-nya, ada gadget yg canggih-mangih, brutal killer/assasin, muka selamba & buat dek control macho/hensem dia! yalah! coz dia kan JB mesti extra-vaganza-avanza punya hero kan? dah azali dia mcm tu!.. then saya tgk Casino Royale which is the prekuel dpd JB2 yg lain sblm ini. pd pndpt saya, ia adalah backstory of who is JB seblm dia bersifat/perwatakan spt di atas tadi. sebabtu saya respek dgn kolaborasi Neil Purvis, Robert Wade & Paul Haggis yg berjaya menggarap screenplay Casino Royale yg menarik itu, yg sepatutnya menjadi the 1st JB film yg tidak dpt dibuat dahulu krn sebab2 rights dr novel Ian Fleming yg pertama. Casino Royale ialah muqadimah kisah2 JB utk sekuel seterusnya. (pls baca cerapan internet berikut)

***

ref: http://www.iht.com/articles/2006/11/16/style/fmreview17.php

"Casino Royale," introduced Bond to the world; it was made into a 1954 live- television drama with the American actor Barry Nelson as Jimmy Bond and, in the following decade, into a ham-fisted spoof with David Niven as the spy and a very funny Peter Sellers as a card shark. For reasons that are too boring to repeat, when Ian Fleming sold the film rights to Bond, "Casino Royale" was not part of the deal. As a consequence, the producers who held most of the rights decided to take their cue from news reports about misfired missiles, placing their bets on "Dr. No" and its missile- mad villain. The first Bond film, it hit in October 1962, the same month that Fleming's fan John F. Kennedy took the Cuban missile crisis public.

***

apa yg ajami kaitkan juga dgn McKee's
character arc di atas is Casino Royale ialah kisah JB yg perlu diambil sbg rujukan how character arc dibuat dlm sesebuah skrip. 1 lagi unsur dlm skrip yg dilakukan dlm Casino Royale ialah spt cerapan 1 lagi tulisan McKee:

An IMAGE SYSTEM is a strategy of motifs, a category of imagery embedded in the film that repeats in sight and variation, but with equaly great subtlety, as a subliminal communication to increase the depth and complexity of aesthetic emotion.
-
Story: Substance, Structure, Style and The Principles of Screenwriting by Robert McKee (pg.401)
main storyline Casino Royale is about 'perjudian' JB utk memenangi Poker Game melawan Le Chiffre dan 'perjudian' cintanya pd Vesper Lynd juga 'perjudian' utk disahkan menjadi 007 oleh M.. ajami dpt mengesan juga scenes spt apa yg McKee maksudkan secara symbolism/semiotics psl 'perjudian' iaitu:
1. budak 'bermain' pinball
2. laga ular-tedung vs ferret (musang - agaknyalah???)
exposition juga ditulis dgn baik dlm Casino Royale dimana setiap arahan dr M atau Mi6 HQ diterangkn kpd JB tanpa kita rasa boring. exposition yg saya suka ialah semasa JB & Chiffre 'menambah pertaruhan chip' dimana Mathis asyik menerangkan (exposition) kpd Lynd 'berapa nilai penambahan wang' yg mereka taruhkan?
kesimpulannya, Casino Royale ialah bhn rujukan scriptwriting yg bagus sambil berhibur dgn letupan, ciuman, pukulan etc.. cuma korang prasan tak, JB asyik 'berlari' ke hulu-hilir mengejar penjahat yg mengingatkan ajami pd Forest Gump! ahaks! "Run! JB Run!.."

***



***
"No villains in hollowed out volcanoes but more pain and danger for our hero. " - Yarborough (blog)
***
"Kamu spy atau sepai?" - Ajami Hashim
***
"Aku Jefri.. Jefri Zain!" - Jefri Zain (jebon org kita)
***
"You Know My Name" - Chris Cornell (klik to dengar lagu nih!)
If you take a life do you know what you'll give?
Odds are, you won't like what it is
When the storm arrives, would you be seen with me?
By the merciless eyes of deceit?
I've seen angels fall from blinding heights
But you yourself are nothing so divine
Just next in line
Arm yourself because no-one else here will save you
The odds will betray you
And I will replace you
You can't deny the prize it may never fulfill you
It longs to kill you
Are you willing to die?
The coldest blood runs through my veins
You know my name
If you come inside things will not be the same
When you return to the night
And if you think you've won
You never saw me change
The game that we all been playing
I've seen diamonds cut through harder men
Than you yourself
But if you must pretend
You may meet your end
Arm yourself because no-one else here will save you
The odds will betray you
And I will replace you
You can't deny the prize it may never fulfill you
It longs to kill you Are you willing to die?
The coldest blood runs through my veins
Try to hide your hand
Forget how to feel
Forget how to feel
Life is gone with just a spin of the wheel
Spin of the wheel
Arm yourself because no-one else here will save you
The odds will betray you
And I will replace you
You can't deny the prize it may never fulfill you
It longs to kill you
Are you willing to die?
The coldest blood runs through my veins
You know my name
You know my name
You know my name
You know my name
You know my name
You know my name
You know my name

Tuesday, October 10, 2006

“kalau papa dan mama tak ada” – pesanan untuk ‘abang’

“kalau papa dan mama tak ada”
pesanan untuk ‘abang’

kalau papa dan mama tak ada..
abang tolong adik tukar lampin dia
pergi ke kolam KLCC berdua
bancuhkan susu adik 3 sudu sebotol
dodoikan adik bila nak tidur

kalau papa dan mama tak ada..
abang peluk adik bila menangis
goncangkan buai, kongsi mainan
pujuk kalau merajuk
belai kalau mengamuk

kalau papa dan mama tak ada..
abang pegang tangan adik bila berjalan
perhati lariannya di padang
kalau terjatuh, cepatlah rangkul
sapukan luka, tuamkan lebam

tapi abang janganlah susah
sekarang papa dan mama ada sebelah
pejamkan mata hilangkan gundah
ajami hashim 101006
*******************
thestoryteller tulis this very simple & kelakar but loving & sexy poem.. bicaraskrip ‘adaptasikan’ menggunakan method “Give me the same thing.. only different!”.

“Hek-eleh!” (NOT the only Melayu poem I’ve ever written)
Hek-eleh!
Anakku memang gitu,
Kejap nak susu,
kejap tak nak.
Takut papa main PS2,
takut papa tak main PS2.
Bila papa chakap ‘busy’,
anakku merengek.

Bila papa chakap ‘nak gi keja’,
anakku terkinja-kinja (nak ikut).

Sudahlah.
Papa dah penat.
Tak de masa.
Banyak ‘posting’ lain.
Banyak mata ‘blogger’ lain
yang gian nak
‘ber-blogging’
dengan blog papa.
Banyak ‘comment’ lain
yang hauskan
idea papa.

Hidung papa yang mancung tak mancung,
kemek tak kemek,
Kembang atau kuncup,
sentiasa sedia mencium mu.

Bayangkan,
seperti yang anakku pernah bayangkan.
Hidung papa, di pipi mu.
Hidung papa, di dahi mu.
Di mata mu.
Di dagu mu.
Di ubun-ubun mu.
Di telinga mu.
Di telapak tangan mu.
Di telapak kaki mu.

Bayangkanlah.
Jangan geli-geli.
Bukan papa tak tahu.
Memang anakku selalu mahu begitu.

Hek-eleh!
Anakku memang gitu.
Dah tahu
papa sangat sayang kamu.
ajami hashim 091006

Wednesday, September 20, 2006

Robert McKee berpesan!

"Screenwriting is an art form," he said. "Master it. You can’t for a moment think you know how to tell stories just because you've gone to the movies your whole life. I lay out the form and the principals of what beautiful storytelling for the screen is, but that doesn't mean you know it. It must move from the head to the heart. But the first step is the intellectual understanding."

"Read screenplays in the genre you like. You want the actual screenplay, not just transcriptions of the film. Get multiple drafts if you can. Then watch films with the screenplays in front of you and analyze them applying the principles you've learned. It really doesn't matter which films. In fact, you can learn more from bad films and screenplays than from good ones. Then persevere ­ and really write well. Master the art."

"You have to think like an artist. If you know you’re in over your head, and that doesn't intimidate you, you might just make it. The hard part is getting in the chair and writing. It takes tremendous will power and discipline and the only way to defeat the fear is to gain the self-confidence that comes from knowing you've mastered the art form."

Saturday, August 26, 2006

buku asas!

Screenplay : The Foundations of Screenwriting ISBN:0385339038 (Paper cover book) Field, Syd / Publisher:Delta Published 2005/11

Story : Substance, Structure, Style, and the Principles of Screenwriting ISBN:0060391685 (Hard cover book) 1ST Edition McKee, Robert / Publisher:Harpercollins Published 1997/10

Screenplay : Writing the Picture ISBN:1879505703 Russin, Robin U. / Downs, William M.

Making a Good Script Great (2nd Ed) ISBN:0573699216 Seger, Linda