formula for how to make a great movie.

[Jeremy Duncan]

[b]Section a

The lemons are seen, but not by the owner of the lemons[/b]

There is a plot because of two types of personalities clashing.
Personality b.) Makes lemonade from the lemons life gave it.
Personality a.) Is working and does not yet see the lemons life gave him.

Since personality 1 is seeing a bigger picture than personality 2, there is a flow in how they interact.
Like the Indians from America saw only so much, but Columbus saw his country and America.
The Indians would be personality 2 and Columbus personality 1.

If we look at a movie like the Terminator. The Columbus would be Arnold, the Indian would be Sarah.
While Sarah ultimately kills Arnold’s character in the final fight, he had a larger more precise start to the battle.
________________________________________________________
[b]Section b

Three character types[/b]

[url=http://www.youtube.com/watch?v=OSiL_ImMJFU]http://www.youtube.com/watch?v=OSiL_ImMJFU[/url]
a.) In the Blade movie time list I show.
From 2:05 to 2:25 the man has a thought in mind and the woman friend has a thought in mind.
So the number of thoughts here are two.

It appears the woman is of a similar mind as the man, but she see’s him as simple compared to her, so here she is showing a baser or simpler nature.

b.) Now in the time list from 2:46 to 2:57 she talks to her buddy who is in on tricking this man. And her mind with her buddy is not simple like the man they are fooling. But her mind is strategic and giddy with danger, badness.
So the number of thoughts here are three: 2 from before and a new one that she showed to her partner in crime.

And this shows the way to write the characters thoughts.
The lady was a personality b, her victim a personality a.

And so throughout every scene that shows a personality a and b there is a sum of three thoughts that are different from each other, three sentences that show different intent.

The man thought he was going to a party: a.
The woman when she seemed simple said it was a party: b.
Her partners in crime who had not a simple mind said it was a party: b.
So what was the main sentence they are focusing their intent on? A party.

And this shows that though they had a relatively similar  thought in mind the structure of the sentence had was different enough there was three different sentence structures to be exact.
________________________________________________________
[b]Section c

Deductive reasoning[/b]

An example of a deductive argument and hence of deductive reasoning:

   1. All men are mortal
   2. Socrates is a man
   3. (Therefore,) Socrates is mortal

http://en.wikipedia.org/wiki/Deductive_reasoning

An example of the above the post:

1.  character a talks to visible character b.
2.  Hidden character b uses deductive reasoning.

It would be difficult for the hidden character b to use deductive reasoning, if there was no section d. Look below for section d.
________________________________________________________
[b]Section d

Three part structure[/b]

Introduction

As described in section b, there is 3 different characters.

Character a has the uncorrupt nature, so there is no hidden motive.
Character b has: a hidden character and another character that character a understands.

This section shows that similar to how colors can coordinate, characters can also coordinate or be uncoordinated.
I will describe how to be uncoordinated in an example a below, then how to be coordinated in example b.

Body

example a
Exclamation Sentence: 
character a.) What other dungeon is so dark as one’s own heart! (He is intoxicated and smelly and is muttering to himself as he walks into a bourgeoisie art gallery.)
Character b.) Dad, is he ok? (The daughter asks her father.)
Imperative sentence: Character b.) All hope abandon, ye who enter here! (The manager bellows as he approaches character a with security.)

example b
Imperative sentence:
Character a.) Always do right. This will gratify some people and astonish the rest.
Character b.) We would like to welcome you to our party.
Declarative sentence: character b.) I celebrated Thanksgiving in an old-fashioned way. I invited everyone in my neighborhood to my house, we had an enormous feast, and then I killed them and took their land.

Why am I using the 3 different characters shown at the top of this post?
There is a visible character b environment, and a hidden character b environment.

In example a, character a did not coordinate well with the visible character b environment.
Character a was going to where the hidden character b environment was, but the hidden character b escorted him off the premises.
This is how to express negative things.

In example b, character a coordinated well with the environment of the visible character b, blending in well with the people there and they had fun and enjoyed his company.

In a horror movie such as 28 days later, the young man fitted in well in the church.
He was lost, didn’t know what was going on and trusted the church.
But as example b shows, the visible character b that character a understands may accept character a, but the unseen character b may still may have corrupt designs that are not fully understood at first by character a.

When character a is coordinated with the environment of character b, then the hidden character b is not revealed so quickly as shown in example a.

In both examples, a and b, character a thought he blending in well with character b.
It was the hidden character b’s consideration that mattered though, Not a’s.

Sentence one: Character introduction, the plot thickens between character A and B.
Sentence two: The use of deductive reasoning: character b considers the fate of A.
Sentence three: the end shows the final scene with a happy or sad face on A.

________________________________________________________
[b]section e

The way color fits in with lemons[/b]

The hidden character b is unseen.
What is unseen has no color, or no definitive color: it’s black

The visable character b has common ground with the hidden character b, but character a may or may not.
It is how character a blends in that the hidden charcter b considers.
If the color the character a has does or does not blend in with the character b is what the hidden character b considers.

The things that may conceal hidden character b is dark color or distance.
The thing that may make character a incompatible is a light or white color, since white is the furthest distance from the color black.

Distance
In section d, example a. Character a belonged far away from the character b.
Hence the hidden character b escorted him off the premises and told him to go away, to where he belongs: “go home.”

Summary
– The hidden character b considers if the color of character a means he belongs there whith b or far away from b.
– Since distance may vary, so may the shade of darkness that conceals the hidden character b.
– Character a may blend in, but he may not. This is what the hidden character b considers.
The first trait of character a is he is colored in such a way that he will be considered by the hidden character b.
________________________________________________________
[b]Section f

This is how to film a gun fight properly.[/b]

For this lesson I will use the deductive reasoning method mentioned in section c:

This method assumes sentence 1 from section c: character a talks to visible character b..
It also assumes the character b is trying to get to the hidden character b in sentence two, and that you are protecting the hidden character b, so your trying to stop the visible character b.

Possibility a
1.) A is trying to stop b from getting to where it wants to go, b is trying to get past you to the hidden b. A either is or is not in a appropriate position to catch b before he gets to the hidden b.
2.) A sets up a appropriate position to catch b, and is in a appropriate position to catch b when b appears.
3.) Therefore a catches b before b gets to the hidden b.

Possibility b
1.) A is trying to stop b from getting to where it wants to go, b is trying to get past you to the hidden b. A either is or is not in a appropriate position to catch b before he gets to the hidden b.
2.) A sets up a appropriate position to catch b, but is in a inappropriate position to catch b when b appears.
3.) Therefore a does not catch b before b gets to the hidden b.

Possibility c
1.) A is trying to stop b from getting to where it wants to go, but b is unpredictable for a time while trying to get to get past a. A either is or is not in a appropriate position to catch b before he gets to the hidden b.
2.) A does not treat b as unpredictable, so a is in a inappropriate position to catch the unpredictable b.
3.) Therefore a does not catch b because b was unpredictable and caught a in a inappropriate position.

Possibility d
1.) This shows if b is considerate.
The visable b trying to get to the hidden b, a is trying to prevent this.
the visable b can catch a in a inappropriate position so a is no barrier.
Either b is or is not in a appropriate position to do this.
b has intelligence that shows a is no barrier, so b makes a move.
As the visable b is making his move, the window of opportunity closes.
2.) B has dilligently checked with intelligence and it has successfully warned him of the new situation with a.
3.) Therefore b is not caught off guard by a and b is successful.

Possibility e
1.) This shows if b is considerate.
The visable b trying to get to the hidden b, a is trying to prevent this.
the visable b can catch a in a inappropriate position so a is no barrier.
Either b is or is not in a appropriate position to do this.
b has intelligence that shows a is no barrier, so b makes a move.
As the visable b is making his move, the window of opportunity closes.
2.) B has not dilligently checked with intelligence and it has not successfully warned him of the new situation with a.
3.) Therefore b is caught off guard by a and a is successful.

Possibility f
1.) A is trying to move past the threat B poses, to the hidden B. B has numbers on the single A fighter.
A has distance to move through.
A has no cover from B if B attacks.
A has to move out in full view of B while B does not have too move into A’s view.
2.) A tries to fight B despite being alone and outnumbered.
3.) A is defeated by B (through sniping or some other means), because B had a path to block using deductive reasoning and so defeated A.

Possibility g
1.) A is trying to move past the threat B poses, to the hidden B. B has numbers, on the single A fighter.
A has distance to move through.
A has no cover from B if B attacks.
A has to move out in full view of B while B does not have too move into A’s view.
2.) A sees the odds B has and moves away from that horrible fighting zone stealthily, to a safer place to fight B.
3.) A is not defeated by B (through sniping or some other means), because B did not have a path to block using deductive reasoning on A, and so did not defeat A.

Possibility h
1.) A is trying to move past the threat B poses, to the hidden B. B has numbers on A, A has very few fighters.
A has distance to move through.
A has no cover from B if B attacks.
A has to move out in full view of B while B does not have too move into A’s view.
2.) A tries to fight B despite being outnumbered.
A sees the odds B has and moves away from that horrible fighting zone stealthily, to a safer place to fight B.
3.) A is not defeated by B (through sniping or some other means), because B did not have a path to block using deductive reasoning on A, and so did not defeat A.

Possibility I
1.) If a and both B are fighting and equally numbered.
And B loses a lot of numbers and also has to defend a different spot, they will move to the spot they need to defend.
It is then that a single A fighter may move through the fighting zone rather safely and with little fear of danger from B.
2.) A decides to wait till the fighting moves away from the fighting zone to move into the fighting zone.
A waits till it’s safe, he moves to the spot the B characters ran away from, and he may pick off the straggler from the opponents side who is running to the other B characters.
3.) Therefore A has shown Knowledge to Patiently use timing, “Timing is key”.

This shows that a gun fight has both appropriate and inappropriate route, the wrong position taken makes winning unreasonable.

Summary analysis of section f, the gun fight.

There is 4 characters.
Sensei
pupil

character b
hidden character b

The pupil tries to get past the character b to the hidden b.
But remember this is a gun fight so explanation is much simpler to describe rather than social etiquette.
Pupil has the ” Head”, Head = Sensei.
Where B is is where people drop, so this is the tail.

The head and the tail! That summarizes the way to shoot a gun fight.
From this head tail scene there is a hidden character b watching and controlling the character b, or influencing character b.

If the head is resting before the fight, the tail might attack it, so the tail goes to the head.
If the head is a threat to the tail, the tail might gather intelligence on the head, and the head might smell the tail and so this would irritate the head.
Various scenarios.
What the tail knows is people drop at the tail, so in a movie like predators three with the people being dropped on a new planet to serve as prey to the hunter, where they are dropped is the tail; the place people drop.

Here is pictures of the 9 possibilites. Artwork done by myself.
[url=http://www.mediafire.com/?u3idwhmtwiz]http://www.mediafire.com/?u3idwhmtwiz
[/url]
________________________________________________________
[b]Section g

I will now show to to invent new ideas for stories.[/b]

From section b and c and f.
1.  Character a talks to visible character b, but b may be deceptive: b’s deception is it hides for a time first before a see’s b.

2.  Hidden character b uses deductive reasoning. Considering the events of 1, and this is the premise that cues the beginning of the story.

B may hide and sneak up on a rabbit in the forest.
B grabs the rabbit and the rabbit cries out in a human voice making b scream in astonishment.
Then the rabbit now free runs away into the forest.

B now at home grabs some liquor and sits down to consider the thing she saw and heard, and wonders about the forest near her home.

As shown in section e, A’s interaction may vary depending on how efficient a is.

Where b may find a is up to your imagination: in the forest, in the city, in a lost time, in the future society, etc.

Is b meeting a with a expecting b.
Is b meeting a with a not meaning to meet b
Is b is hidden before meeting a.

From this setup the sentence 2 begins with b considering what it saw or went through.

here is a folder with pictures showing the angle mentioned in the aikido example: [url=http://www.mediafire.com/?umt2n2zzwyn]http://www.mediafire.com/?umt2n2zzwyn[/url]

________________________________________________________

[b]section h:

script writing[/b]

“In most cases, you are likely to want to focus primarily on plot, and only secondarily on character.

Hence it is not only permissible but advisable to draw your characters as roughly as you can-function within the story,
job, age, etc-and only once you are writing start to develop the quirks and nuances that will give them a life of their own.”

Step 1.)
In the movie the karate kid, daniel has a sensei, mr.miyagi.

The characters are introduced, and the plot begins with the sensei, the Mr.Miyagi.

Step 2.)
The character having been introduced the plot thickens with action between the character that makes lemonade and daniel who doesn’t know he has lemons.

pretense 1.) daniel needs to get something.
Pretense 2.) then daniel tries to get it,
These two pretenses form the angle that is the camera showing daniel try and do something and the viewers eyes following daniel.

The angle camera motion is basic so the viewer simpathizes with daniel, as the daniel is basic, then becomes more advanced striking camera motion as the character daniel becomes more advanced.
Since the character playing daniels superior and peer is more advanced, the dialog and camera of this character is more aggressive and quick, wordy.

Step 3.)
Now is sentence two of section d, daniels character can no longer be detailed, so he knows the situation with his superior peer and comes to terms on how he will deal with this lemon villain.

summary of steps 1 2 and 3.)
We went from the characters being introduced, daniel sees there’s a sensei, to the daniel character being detailed through taking action, to daniel considering the situation with the lemons.
Then depending on what happens after daniel considers in step 2, the end of the story is written so daniel and miyagi are either happy or sad.

plot summary.)

– After the characters introduction then there is able to be formed the angle that is a success or failure.
daniel ses the thing he wants or needs to get
daniel moves to get it
the viewers eyes are watching him do this at a calm pace. the camera pace on the superior peer who doesn’t need detailing of his/her character is much quicker and their words more abundant.

– The action of the camera is the the bridge the viewer has to daniel, this is important!
So the way the success or failure is told with the camera must make sense, is it in line with the flow of the story meaning is it too simple or advanced for that point of the story?

– As seen in the movie list I made of Blade. major Scene 4, Blade see’s his friend dead and does a lot of considering.
Preceeding Major scene 4 is major scenes 1 2 3 and all their minor scenes.

Section d’s sentence 1 is made up of section f’s angle: the camera follows daniel and the viewers eyes trail the camera. This details daniels character.
Section d’s sentence 2 is made up of section c’s deductive reasoning. Daniel sees the situation with the lemons and does a lot of considering..

Link to picture showing section d, sentence one: http://www.mediafire.com/?xi3zzg3jieu

[url=http://www.imagebam.com/image/16832448365084][img width=180 height=91]http://thumbnails7.imagebam.com/4837/16832448365084.gif[/img][/url]

__________________________________________________ ______
[b]Section i:

words[/b]

– On another note. I am reminded of a Kurosawa movie about Samurai.
The father says a single arrow is easily broken, but multiple arrows cannot be broken.

If post one, section f, possibility f.
The character A, must break through the fortress the character B poses.
This shows that B poses a void that A must fill out, and this is where Kurosawa’s arrow comes in.

In possibility H, character A has some numbers so B isn’t easily victorious.
For if a single arrow fills out B’s void, B will break A as a single arrow is broken.
If multiple characters help A fill out B’s void, they stand a better chance.
If multiple A characters help fill out B’s void and begin to fail and start to slip into defeat,
their numbers then grew till they could not be defeated by B, and this is what the father meant when he talked to his sons in Kurosawa’s movie.
“Many arrows cannot be broken if they resist breaking by growing in numbers.” father from kurosawa’s movie, paraphrased by me.

________________________________

Here is a video I made that shows the concepts above: http://www.mediafire.com/?mydizzjoh1g

I tried to upload it to youtube but they only showed 11 seconds of it, I tried three times and on two different browsers. So I just uploaded it to my file host and put the link here.

[Author]

Posts