rega....
me so sempre appassionato al cinema...e da piccolo me immaginavo sempre storie fantastike...
e tutto ora ho qualke idea su qualke storia...
ma il problema è ke non so proprio come scrivere una sceneggiatura....
ki saprà delucidarmi??
anke da qualke sito intendo...
tutto qua.. spero che non sia inutile...
love&peace :devil: :devil:
Ehm, che c'è da capire? Faccio un esempio che dovrebbe farti capire.
LO SQUALO: SOGGETTO
Uno squalo miete vittime al mare. Due corraggiosi marinai ed un cacciatore gli danno la caccia.
LO SQUALO: SCENEGGIATURA
Sequenza iniziale: primo piano di una pinna che si dirige verso una donna.
Inquadratura dall'alto della donna.
La donna dice: "che cos'è quello?!" (primo piano del viso della donna)
Inquadratura sott'acqua che riprende le gambe della donna.
Schermo nero e si sente un urlo fuori campo.
Inquadratura dall'alto che inquadra del sangue che affiora in superficie.
Non penso d'averlo fatto bene questo esempio, ma in ogni caso nella sceneggiatura vengono spiegati con dovizia di particolari tutte le azioni che accadono nel film.
Edit: ecco un pezzo della sceneggiatura originale di NIGHTMARE.
NIGHTMARE MUSIC THEME begins as we FADE UP on a SERIES OF
SHOTS all CLOSE and teasing.
-- A man's FEET, in shabby work shoes, stalking
through a junk bin in a dark, fire-lit,
ash-dusted place. A huge BOILER ROOM is what
it is, although we only glimpse it piecemeal.
Then we SEE a MAN'S HAND, dirty and nail-bitten,
reach INTO FRAME and pick up a piece of METAL.
-- ANOTHER ANGLE as the HAND grabs a grimy
WORKGLOVE and slashes at it with a straight
razor, until its fingertips are off.
-- CLOSE ON SAME HANDS dumping four fishing knives
out of a filthy bag. Their blades are thin,
curved, gleaming sharp.
-- MORE ANGLES, EVEN CLOSER. We can HEAR the MAN's
wheezing BREATHING, but we still haven't seen his
face. We never will. We just SEE more metal being
assembled with crude tools, into some sort of
linkage -- a splayed, spidery sort of apparatus,
against a background light of FIRE, and a deep
rushing of STEAM and HEAVY, DARK ENERGY.
-- And then we see this linage attached to the glove.
-- Then the BLADES attached to all of it.
-- Then the MAN'S HAND slips into this glove-like
apparatus, filling it out and transforming it
into an awesome, deadly claw-hand with four
razor/talons gleaming at its blackened fingertips.
Suddenly the HAND arches and STRIKES FORWARD,
SLASHING THROUGH a DARK CANVAS, tearing it to
shreds.
EXT. LOS ANGELES. NIGHT. (2ND UNIT)
A PULSATION OF LIGHT AND SHADOW. MUSIC DROPS AWAY to a
hushed RUSHING OF WIND and DISTANT SIRENS. CAMERA RACKS INTO
FOCUS on a HIGH PANORAMA of the San Fernando Valley, its
night sky lit from within by a strange GREENISH LIGHT.
TITLES BEGIN.
CAMERA TILTS DOWN and ZOOMS SWIFTLY into the valley's web of
light.
CUT TO:
INT. CONCRETE PASSAGEWAY.
TITLES CONTINUE as TINA GRAY, a strong girl of fifteen in a
thin night shift, moves towards us down a dark concrete
corridor. Her steps quicken as TITLES appear in the portion
of frame she leaves free.
A subliminal COLLAGE of SOUND threads in and out of the
MUSIC. Distant insane LAUGHTER. Slamming iron DOORS. A
bleating animal CRY. A LAMB, white and blank-faced, skitters
across her path and on into the dark. No reason why it's
there.
Then another SOUND, much nearer -- the slithering SCRAPE of
something like fingernails across slate. It sets our teeth
on edge, twists the MUSIC, and sends TINA running.
INT. BOILER ROOM.
Suddenly TINA's a tiny figure running among huge boilers
steam pipes and catwalks -- a shadowed forest of iron and
stone. She stops, listening intently as the SOUND of tiny
hooves suddenly turns into the rattle of DISTANT RAIN.
Then she hears RIPPING FABRIC.
Someone is shouldering behind a ragged screen of dirty
canvas, approaching TINA.
CLOSER ON THE CANVAS. The long curved fingerblades suddenly
punch through, flashing in the firelight, and begin ripping
through the thick fabric, as easily as scalpels through
flesh. They make a hideous, extended RIPPING SOUND.
TINA rushes away, hands over her ears.
ANOTHER ANGLE -- as the blinded girl stumbles backwards.
Then the canvas flaps free. The blades are gone. The TITLES
END, and everything goes silent.
CAMERA CIRCLES until TINA's looking right into our eyes. The
light from a nearby boiler pours through her thin night
dress, leaving her naked and vulnerable. Then a deep, ragged
VOICE whispers at her as CAMERA CLOSES IN ON HER FACE.
VOICE (O.S.)
One two, Freddie's coming for
you...
forse potrebbe srvirti stendere una piccola scaletta che metta in sequenza i momenti salienti della sceneggiatura buttando giù qualche riga che descriva tutto ciò che fa da sfondo alla storia (dove, come, quando) e poi affronta punto perpunto cercando di sviluppare la trama che hai in mente.