帮忙翻译啊~~
Chapter7:Story-What'sitAllAbout?Nostory-nomovie.Here’showtotellifyouactuallyhaveastor...
Chapter 7: Story - What's it All About?
No story - no movie. Here’s how to tell if you actually have a story, and if not, how to make one.
Flash is fun, but I can never forget what John Hubley taught me, all those years ago at UPA in Hollywood: "First and foremost, your movie should be about something!"
Even an animated film cannot escape the laws of dramatic structure. Hub recommended a book by the Hungarian* author, Lajos Egri, titled "The Art of Dramatic Writing." It was published in 1946 by Simon & Schuster, just as I was starting out in the animation profession. Fortunately, the book is still available on the internet as I write this, and very cheaply, so no excuses for not buying and learning from it. I'll attempt to distill its main point for you:
More clearly than any other book I've read about dramatic writing or screenplay writing, it explains premise - which is the core of "about something." Premise is largely misunderstood and misused. It is the supposition and line of action upon which every successful dramatic story must be based. It can be stated in just a few words, and found in every play by Shakespeare or any other great writer, and even in every Roadrunner cartoon.
When I had the task of adapting children's picture books for Weston Woods - the task of translating a book into an animation film, I first had to find the premise, what I called, "the core of meaning." Once I had this, I knew exactly what could and what could not be in the film adaptation. Whether he or she knew it or not, the author's original story, if truly strong, will have this premise. The premise tells us what the story, at base, is about, and where it's heading. According to Egri it must consist of three parts: character/conflict/conclusion. If you distill your story idea to this essential premise, you will know exactly how it will end, and how you will get to that ending. Note that the premise need not be always true. It may be questionable, but it is what you the author want to dramatically state. A good story must prove its premise.
Here are some sample premises that Egri presents:
"Blind trust/leads to/destruction." (King Lear)
"Jealousy/destroys/the object of its love" (Othello)
"Poverty/encourages/crime." (Dead End)
"Great Love/defies/even death" (Romeo and Juliet)
"Ruthless ambition/leads to/it's own destruction." (MacBeth)
OK, that's all heavy stuff, but the same principles apply to our little cartoons:
"Craftiness/digs/its own grave." (every ROAD RUNNER cartoon)
"Bravado/leads to/humiliation" (Bluto in every POPEYE cartoon)
前提是不要那种翻译软件翻译出得不通顺的啊，最起码得理顺了再发答案，谢谢了，翻译软件我也会的…… 展开
No story - no movie. Here’s how to tell if you actually have a story, and if not, how to make one.
Flash is fun, but I can never forget what John Hubley taught me, all those years ago at UPA in Hollywood: "First and foremost, your movie should be about something!"
Even an animated film cannot escape the laws of dramatic structure. Hub recommended a book by the Hungarian* author, Lajos Egri, titled "The Art of Dramatic Writing." It was published in 1946 by Simon & Schuster, just as I was starting out in the animation profession. Fortunately, the book is still available on the internet as I write this, and very cheaply, so no excuses for not buying and learning from it. I'll attempt to distill its main point for you:
More clearly than any other book I've read about dramatic writing or screenplay writing, it explains premise - which is the core of "about something." Premise is largely misunderstood and misused. It is the supposition and line of action upon which every successful dramatic story must be based. It can be stated in just a few words, and found in every play by Shakespeare or any other great writer, and even in every Roadrunner cartoon.
When I had the task of adapting children's picture books for Weston Woods - the task of translating a book into an animation film, I first had to find the premise, what I called, "the core of meaning." Once I had this, I knew exactly what could and what could not be in the film adaptation. Whether he or she knew it or not, the author's original story, if truly strong, will have this premise. The premise tells us what the story, at base, is about, and where it's heading. According to Egri it must consist of three parts: character/conflict/conclusion. If you distill your story idea to this essential premise, you will know exactly how it will end, and how you will get to that ending. Note that the premise need not be always true. It may be questionable, but it is what you the author want to dramatically state. A good story must prove its premise.
Here are some sample premises that Egri presents:
"Blind trust/leads to/destruction." (King Lear)
"Jealousy/destroys/the object of its love" (Othello)
"Poverty/encourages/crime." (Dead End)
"Great Love/defies/even death" (Romeo and Juliet)
"Ruthless ambition/leads to/it's own destruction." (MacBeth)
OK, that's all heavy stuff, but the same principles apply to our little cartoons:
"Craftiness/digs/its own grave." (every ROAD RUNNER cartoon)
"Bravado/leads to/humiliation" (Bluto in every POPEYE cartoon)
前提是不要那种翻译软件翻译出得不通顺的啊，最起码得理顺了再发答案，谢谢了，翻译软件我也会的…… 展开
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第七章:故事,说的是什麽?
没有故事——没有电影。下面是如何知道你确实有一个故事,而如果不是,如何使一个。
闪光灯是一件很有趣的事,但我永远不会忘记约翰Hubley教导我,多年前在好莱坞在一夜之间做好一:“首先,你的电影应该是什么!”
甚至一个动画电影无法逃避法律戏剧性的结构。中心推荐一本书由匈牙利*作者,Lajos Egri,题为“戏剧性的写作的艺术。”这首诗歌发表于1946年由西蒙&
没有故事——没有电影。下面是如何知道你确实有一个故事,而如果不是,如何使一个。
闪光灯是一件很有趣的事,但我永远不会忘记约翰Hubley教导我,多年前在好莱坞在一夜之间做好一:“首先,你的电影应该是什么!”
甚至一个动画电影无法逃避法律戏剧性的结构。中心推荐一本书由匈牙利*作者,Lajos Egri,题为“戏剧性的写作的艺术。”这首诗歌发表于1946年由西蒙&
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还有呐还有呐？谢谢啊……比我翻译的好多了
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