As described in Part 1, Part 2 and Part 3 of this series, Christopher Nolan's screenplay INCEPTION is deeply rooted in the principles of hypnosis.As described in Part 1 and Part 2 of the series, the organizing principles of Inception's "dream within a dream within a dream" structure seem to be drawn directly from a classical three-step approach to hypnosis.
As a screenwriter, what you want as the end result is a polished, well written, cohesive story. That has all of its threads woven together neatly. The focus of Screenwriter Marketing Services is to provide you, the screenwriter with the ultimate in career packaging.
As I discussed in last week's article, the organizing principles of Inception's dream within a dream within a dream structure almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.
First you should read, watch and research other real life stories that have been adapted into books, movies, or plays. Real life stories have a completely different feel to them vs. a fictional story.If you are ready to take action and make your dreams of screenwriting a reality, then you have come to the right place.
A primary reason that people go to the movies is to have a vicarious emotional experience. A horror buff wants to be horrified or truly frightened (although a fair number seem to also want a good laugh). A romantic comedy aficionado wants his or her happily ever after.
Your screenwriter marketing services will show you how to sell a screenplay. Plus the best way to get it read by top Hollywood literary agents and producers. Besides focus and sheer determination on your part, selling a screenplay to Hollywood takes more than will power, it takes ideas.
Keep in mind that a screenplay is visual. This is why books are often quite different when adapted into movies. Your characters' dialogue supports their actions.By now, you and everyone you know have probably seen Inception. You've read reviews that wax poetic about its dream like nature, its visual innovation, and its extraordinarily ambitious thematic aspirations. I feel it could have pushed its themes even further.
You've written a script for a low-budget film and maybe you want to make it yourself or at least generate some interest in the script. Wouldn't it be great if you could get a "name" actor--even a big star--to be willing to be in it?
Every screenplay needs a protagonist, the person who drives the story forward, and also a main character. Now you may be wondering if there's any difference between a protagonist and a main character. Surely they are one and the same?
If you're a budding screenwriter, then the odds are stacked heavily against you. Obviously, there are tens of thousands of other writers out there with similar dreams of selling a script for six figures and having big-name stars like Brad Pitt or Kate Winslet sign on to their project.
Before computers and all the software that lets a writer technologically storyboard his or her novel in Excel or other "trackers," there were corkboards on which writers laboriously pinned 3 x 5 cards outlining various chapters and defining characters in their works in progress.
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