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PRESLOGind

Premis dan Logline, hal ini antara lain;

  • Kesederhanaan premis itu sangat mudah dipahami namun kesederhanaan inilah yang menanggung sebuah masalah besar, yakni sulit dipahami oleh kalangan umum, apalagi pembaca yang awam.
  • Premis memang sangat singkat dan berguna sebagai unsur terpenting dalam skrip, Logline adalah penyambung maksud penulis kepada pihak produksi dalam bahasa yang lebih mudah dimengerti.
  • Logline itu adalahh istilah yang biasa digunakan di luar negeri, khususnya di Amerika. Premis lebih khusus dan sifatnya teknis sekali.
  • Premis memang memiliki aturan 25 kata, atau dianggap tidak valid. Logline mengutamakan pemahaman pembaca.
  • Logline mengandalkan meme, seperti sebuah kalimat indah, dibuat sedemikian rupa sehingga mudah ditangkap. Memiliki unsur narasi yang sangat bertutur (narasi tekstual).

Sebagian besar penulis ternyata memang masih menggunakan Logline daripada Premis, alasannya menghilangkan pola yang sama dan terbaca lebih atraktif dalam berkas pitching (proposal). Pola premis terbaca agak klise apalagi memiliki pola yang sama. Klise ini akan nampak sekali bila ditambah kesingkatan dan keefektifan dalam satu kalimat saja. Sebuah Logline disisi lain bisa lebih panjang dan kadang terdiri atas 2-3 kalimat. Pada dasarnya logline memiliki struktur yang sama yakni; tokoh dan latar belakangnya, hasrat (keinginan;needs dan wants), konflik dan keunikan cerita.

Angela Bourassa menyukai logline Memento dan Eternal Sunshine of The Spotless Mind, dia adalah founder dari LA Screenwriter Logline Competition. Dalam artikel scriptmag dia mengatakan; Logline adalah semacam seni tersendiri, seperti puisi berkalimat satu, sebuah janji pada naskah pada film anda, sangat imajinatif namun sederhana, sangat komersil namun unik.

Blake Syder mengartikan “logline” dengan cara yang sederhana yakni kalimat yang merangkum cerita dengan cara ironis. Berikut adalah contoh – contoh logline yang praktis

Siswa SD yang tidak sengaja mencium pipi temannya, Lili. Joshua takut Lili hamil, ia menjual seluruh kelerengnya untuk menikahi Lili. (Joshua karya Alvin Ardiansyah pada finalis Film Terbaik XXI Short Film Festival 2015)

Harry Sanborn, pengusaha berusia sebaya dengan kesukaan kepada wanita yang lebih muda seperti Marin, girlfriend terbaru-nya. Kenyataan pahit mulai berdatangan keetika dia mengalami serangan jantung di rumah ibu Marin, Erica penulis novel cinta yang kerap judes terhadapnya. Di tengah kesuksesannya, tumbuh krisis paruh baya, diantara dua wanita. (something gotta give)

Seorang lelaki menderita penyakit yang membuat dia tidak bisa mengingat apapun yang di alami sehari sebelumnya. Mencari pembunuh istrinya dia hanya mengandalkan catatan berupa tato yang memenuhi sekujur tubuhnya. (memento)

Sepasang muda-mudi secara misterius langsung jatuh cinta pada pandangan pertama, anehnya keduanya mengaku memiliki masalah dengan ingatan masa lalunya. Dalam perjalanan untuk menyembuhkan penyakit mereka, mereka menyadari dan menemukan awal serta akhir dari percintaan mereka. (eternal sunshine of the spotless mind)

Forest, memiliki keterbelakangan mental yang membuatnya bodoh, keluguannya melawan niscaya alam; sebagai pahlawan di masa keemasan sejarah Amerika dan ingin memenangkan cinta Jenny, seorang cantik yang berusaha kabur dari dunia. (Forrest Gump)

Footage yang berasal dari isi kaset dokumenter yang dilakukan oleh tiga mahasiswa menghilang tanpa jejak, pencarian sumber mitos tentang nenek sihir yang menghantui hutan di Maryland. (blair witch project)

Seorang pengamen keliling yang di cari-cari sekumpulan preman dan juga polisi atas pembunuhan seorang playboy dan juga akuntan para gembong kejahatan yang disangka dia lakukan.

Sebuah perkemahan di sebuah pertanian oleh sekumpulan anak muda di hutan berubah menjadi pelarian hidup-mati, karena satu kampung pertanian berubah menjadi zombie.

demikianlah masalah premis dan logline, nanti akan ada pembahasan logline yang lebih mendalam. Kalau ada pertanyaan bisa langsung kirim ke email saya dan, masukan dan kritik apapun sangat berarti bagi saya.

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Sinopind

Tips on Synopsis

According to ‘The Complete Film Dictionary’ by Ira Konigsberg, the definition of synopsis is, ‘A brief summary of a film or potential film written in a few paragraphs and including only a general outline of events.’

Here are a few suggestions:

First, let’s take our cue from people who do script coverage. Ever notice how their summary is instantly understandable, even to an eight-year-old? That is your first tip in writing a synopsis. It must be very, very simply written. Meaning, anybodyshould be able to very easily follow your synopsis, with just one quick read. The one tip you don’t want to take on script coverage is the inspiration part of it. Most script coverage is, by its nature, very uninspiring. So your synopsis has to have a quick, easy feel

Keep it simple.

to it and yet interest the producer. You do not interest a producer by making it complicated (from their point of view, if they can’t easily comprehend it, how on earth are they going to be able to pitch it to the studios?). Each paragraph should easily lead into the next. One line of thought should flow smoothly to the next line of thought. I would suggest that when you have finished your synopsis and logline, have some of your peers read it and give you pointers. You can even read it to some of your friends. If it doesn’t make them want to see the movie, rewrite it.

Some scripts have a target audience. Showing your logline or synopsis for a teen script to a few senior citizens who only watch movies from the 50’s and 60’s is foolish.

Nowhere in Konigsberg’s definition does it tell the writer to include all of the names of the main characters or every scene in the story.

Writing a good synopsis and logline for a script takes practice. These are not something you whimsically write, giving it no importance. Without a good logline and synopsis, you drastically reduce the chances of getting your script read.

Writing a Synopsis:

Here is one way to write a synopsis and feel reasonably sure it will be good:

1)Write up to a dozen different synopses for your script. Keep in mind that the synopsis MUST be a very simple read, so that anyone could easily understand with one quick read.
2) Then, with the help of your writing peers and friends (hopefully people who like to watch movies that are similar to your story), find out what parts of each synopsis they like and dislike the most.
3) Incorporate these suggestions into a few different synopses and do 1-2 above again.
4) Keep doing this until you have the best synopsis possible.
5) Get your synopsis read by some teens. If those teens aren’t able to read your synopsis and instantly know what your story is about, your synopsis is in trouble. If the teens had to read a particular sentence or paragraph (in your synopsis) again to understand it, your synopsis is in trouble. When they instantly (and I do mean ‘instantly, from one quick read’) know what your story is about, you have a good synopsis. If those teens are confused about your story in anyway, rewrite your synopsis. You aren’t asking for a critique from a teen. You want to know if they can understand it.

Have your peers read and critique it.

Scripts are where movies come from, but the industry determines their interest in a script by the logline/pitch and synopsis. Your logline and synopsis are the keys that open the gate to getting your script read. The pitch (verbal form of a logline) is THE tool that a producer uses to get a film financed. If you, the writer of the script, can’t effectively communicate what your story is about, how can anyone possibly expect a producer to come up with a pitch to get the film financed?

Additional note for InkTip writers:
Though your synopsis or logline is getting results on this website, it doesn’t necessarily mean that that exact logline or synopsis will get you results in your other query letters, and vice-versa. You should have several written of each and see which type of submissions work best and in what situations they work best.

Some writers hire people to write their logline and synopsis. This, in my opinion, is not in the writer’s best interest if the writer wants to have a career as a writer. Once a writer has sold a few scripts and is getting some recognition, the need to write spec scripts will decline. Instead the writer pitches ideas for scripts and then gets hired to write the screenplay. The ability to pitch then becomes all-important in getting your next writing job. Start learning to do it now, so that when the time comes you will be a master at pitching and writing synopses and loglines.

This also comes into play when a producer really likes a script by a writer, but knows he/she is not interested in that type of project. In this case, the writer who knows how to write a logline, synopsis and knows how to pitch, can possibly get hired by the producer to write a script for a different story.

Knowing how to do this is part of the trade. Without this skill, a writer is limiting his/her chances. Any writer who is not an expert in this should become an expert. This is done with practice. Pick movies you have seen and write loglines and synopses for them. Have your writing peers give you their suggestions on them. Have teens read it, not for suggestions, but to see if they instantly understand the story.

A bad synopsis always has two elements: it is complicated and contains unimportant or unnecessary details.

Below we have included a synopsis. I hesitate to send any synopsis as an example, as there is no such thing as a perfect synopsis. I am sure there are many synopses that have gotten better results. However, since there are so many writers that have requested information, I have chosen to give this one as an example.

We chose to distribute this particular one, out of the many that were provided, for several reasons:

A) We have obtained full authority to distribute it broadly.
B) This writer will not take offense if other writers critique it. Of course, the writer is remaining anonymous.
C) Anyone can write a synopsis for a movie that has already been made and say ‘This is how the synopsis should look’. It makes no sense to provide a synopsis that ‘experts’ think will get results. It is better to show writers an example of a synopsis that did get requests for the script. From a blitz of query letters (submitted in 1999), this synopsis resulted in 16 production companies requesting the script in just a few weeks. This writer was not represented at the time of the blitz.
D) The script was not sold or optioned because the script itself was poorly written.

After reading this synopsis, I have come to some conclusions as to why so many producers were interested in this writer’s script. They are as follows:

1) There is always an interest in a script that can result in many more films, based upon the same premise and characters with a different situation (franchise potential – like the Bond, Mission Impossible, Die Hard, Superman movies, etc).
2) It told the basic idea of the story in a page or less. (The industry standard for a synopsis is usually one page.)
3) Even an idiot could read it and know what the story was about.
4) The development person or producer could easily pitch the story to others (such as: an American James Bond).
5) It did not contain specific details which would factually require further explanation, causing the synopsis to be longer than it should be. Nor did it leave the reader wondering what the writer meant by a particular paragraph or sentence.
6) It did not unnecessarily complicate the explanation of the story by including every important character or detail in the script.

Number 1 above does not apply to all scripts. However, in my opinion, 2-6 do. Though this synopsis is not the best one ever written and didn’t really follow the ‘beginning, middle and end’ of the writer’s script like some synopses do, it most certainly told the producer what the story was about. Regardless of how it is done, the writer needs to tell the producer what the story is about.

There is no question that anyone can look at this synopsis and find something to improve. It took restraint on Norma’s, Maia’s, and on my part not to improve it ourselves, before providing writers with it. Had we done so, we would be supplying you with a synopsis that we think would work, rather than one that did work.

Here is how this writer wrote the synopsis. She wrote several synopses for the script. Then the writer had her friend who was an English tutor for small children, critique it to make it understandable and easy to read. Another concern was to, as much as possible, make it so that each paragraph naturally led into the next paragraph (or at least didn’t seem disjointed).

The test to any decent synopsis is (and these are IMPORTANT):
1) Can the producer easily pitch it to others? (Don’t forget this one.)
2) From the first quick read, can anyone understand it instantly?
3) Does it honestly give the producer an accurate picture of the story?

If a synopsis does not meet these three requirements, the odds are very great that the synopsis is in trouble. Writers should team up and practice writing synopses and loglines. Writers should get their synopses and loglines critiqued (by their peers) before submitting query letters.

Without further delay, here is the synopsis:

DAY OF RECKONING:
by Anonymous

ACTION-INTRIGUE

After his involvement in the Bay of Pigs and witnessing numerous other destructive deeds brought about by the KGB, CIA and other ‘national security’ agencies, JFK formed a secret agency known as ‘Watchmen’. Its task: to ensure world peace and forward progress; to stop those agencies (Mafia, terrorists, KGB, etc.) which prevent such. They answer only to the President. It is the only US agency which has legal license to kill.

Leslie Slade, the first ‘Watchman’, trained his children and grandchildren well. Christian is the only family member who had no interest in being a Watchman, though amply qualified.

A cousin, by his death, involves Christian in the most serious threat to the safety of the US and world that the Watchmen have ever encountered.

A weapon, funded and created by the CIA (in the name of ‘national security’) has been stolen. Three liters of this weapon have the power to wipe out all living things on an entire continent in little more than a minute. The weapon works on an atomic level but produces a type of radiation wave that is instantly lethal.

The movie starts with a breath taking action scene which has never before been seen on the screen. Christian Slade, in an amazing feat, after days of interrogation and torture, escapes from the bad guys. Out of necessity, Christian becomes a Watchman and proceeds to solve the clues that lead to the location of the weapon. He is involved in another never before seen action stunt (which could realistically happen) along with other hairy action scenes.

Christian is at times the pawn of the bad guys and occasionally one step ahead of them. Sometimes he doesn’t know who to trust and is running from everyone. There is a double-agent and he suspects the Director, his uncle.

One of Christian’s flaws is that he is a sucker when it comes to women. There are a few coined words and phrases that help this movie out. As well, flashbacks with bits of wisdom, from Christian’s training as a youth, help make this action script unique to others.

In the end, the reluctant Watchman saves the day.

Source : https://www.inktip.com/tips-synopses.php

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HOW TO

19 GREAT WAYS TO BRAINSTORM SHORT FILM IDEAS

There’s three things different in the film industry from when I started Raindance in 1992:

– in the early 90’s every film was shot on expensive celluloid. Now it’s all shot on digital.                                                        – back then (remember that John Major was still Prime Minister and Princess Diana was alive) films were distributed in cinemas and on heavily regulated broadcast television. Now internet distribution rules supreme.                                          – when I started Raindance I bought expensive newspaper and magazine ads. Now it’s all web adverts.

Everyone is screaming for content today: visual content. The other fact is that people’s attention spans are dropping meaning that short films get the kinds of eyeballs that feature filmmakers dream about.

An understanding of short film idea generation is almost a carte blanche to becoming known as a filmmaker of short films with the kind of pedigree associated with Oscar™ nominated feature filmmakers. What is more, your short films can be seen by a huge number of people. That’s why we are about to launch a very special short film competition with ShortList Magazine.

Here’s the tips I have collected while working with filmmakers I meet at Raindance:

1. Seat of the pants to seat of the chair

I learned this one from Michael Hague. His Writing Screenplays That Sell was the book that got me interested in writing. A little bit every day is better than a bank holiday weekend blowout. A bit every day becomes a habit. I’ve found that a few minutes every day on my curent creative project reaps more rewards then when I have to go like smoke towards a deadline.

2. Write it down

Do you remember the last time a great idea for something popped into your head? Was it when you were walking to the tube or bus stop? Or hoovering up dust bunnies? If so, it’s because you were most likely in Alpha State – those sweet daydream moments you slip into while you are doing something mechanical or familiar.

Do you remember what happens if you don’t immediately write those great thoughts down? Don’t they vanish into thin air? Make a habit of shoving a notebook in your pocket so the next time you have a great idea you can simply write it down.

 3. Write about youself

Have you ever been in a situation where you sit and remark to yourself that ‘this could’ve been a movie?’ Sometimes our own lives are as interesting and entertaining as the movies. Make sure you write them down.

4. Bad granddad jokes

I was once in Sweden when a Norwegian filmmaker asked me to watch his short – in Norwegian. Of course when it was over he asked me how it was. I told him it was beautifully shot but I had no idea what it was about because I don’t speak Norwegian. He then translated the movie and it was sweet, tender and very funny. It was, he explained, based on a joke his granddad had told him.

Maybe those bad granddad jokes will inspire you too. The beauty of these jokes is they have a setup ie:

Have you ever had a …
Then a story arc: Let me tell you about a friend of mine…
And a punchline at the end.

These can make great storytelling hooks.

5. Opposites attract

Why not take an iconic story and flip the characters around. Instead of the beautiful princess kssing the frog, why not make it the handsome prince? Another flip on this would be to take a well known movie and reverse the characters. In Witness for example, rather than having Harrison Ford going to the Amish community as he is pursued by the Mafia, why not make it the story of the 12 year old boy who travels to Philadelphia and is corrupted by the Mafia.

6. Reverse budgeting

Robert Rodriguez did this with great style when he made El Mariachi – his famous first film. He made a list of all the stuff he could get cheap, the actors he knew and the locations he could get for free and then he cooked up the story based on the fact that his actor had a dog and could play the guitar.

7. Confinement stories

Create two characters and put them in a location they can’t leave and see what happens.

8. Look it up, then make it up

Research is a great way to find ideas. Make a list af your favourite theories or ideas and research them. I’m sure that some great ideas will pop up.

Here’s a great research tool our MA/MSc partner Staffordshire University has compiled.

9. The ‘What if…?’

I use this tool a lot. I take a simple everyday thing, like the keyboard I write this on, and add the ‘what if ?’ and see what happens. So I could say something about my keyboard like this:

What if the newest and deadliest virus is transported on the internet and what if you can get it by connecting to the intent with your keyboard?

10. Watch movies

Watching other peoples shorts is a sure fire way to get inspired. Watch great short films and then see if you can use their ideas and approaches to come up with your own ideas.

Here’s 10 x 15 second shorts our community made for Nokia to demonstrate the fact that their phones could take video.

Here’s 28 brilliant shorts you can watch in the time it takes to eat lunch

Can you find something here that inspires you? Can you get some ideas that you can bend, blend and mix into something else?

11. My day

Don’t we each wake up, get ready and leave for work? Do you arrive as planned? Or leave as planned? What are the types of incidents that could change your normal day or your life? People would find this interesting.

12. Read the newspaper

The newspaper is full of incidents which can make it into the ‘truth is stranger than fiction’ category. Often these news snippets can be combined and interchanged to come up with refreshingly original ideas.

When Roger Corman, the King of Independent Cinema visited Raindance in 1996, he would show up at my office with the morning newspapers. He tore keywords out of the headlines and scrambled them up on my desk until he saw what would make a good headline for a movie. When he saw one he liked he would handwrite the title out and fax it to his graphics honcho in LA. A few hours later artwork would appear on my fax which he’d take and show local British distributors. If enough people liked it, he’d go back to LA, find a screenwriter to write the script represented by the poster and make the film.

It was such an exercise he conducted in 1955 that spawned his feature The Fast And The Furious from which an entire franchise was born.

13. National or religious holidays

In a short film you don’t have time to set up the scene. The advantage of using an iconic moment like Christmas, the Christening, weddings and funerals is everyone knows exactly where you are. You can use this tool to kick off just about any story idea and add in a twist that takes it out of the ordinary and clichéd.

14. K.I.S.S.

Keep It Simple Stupid. Especially on your first few shorts. Attempting the complex and complicated is a great goal. But if you set a goal like that and fail it could destroy your confidence. Remember too that some of the world’s best ideas are the simplest.

15. Spoof and parody

Making fun of people or entertainment icons is another way you can come up with ideas. What is core, is your parody film is generally free from libel and defamation actions from politicians, business leaders or celebrities that you are taking the mickey out of. If you think you are walking near the legal line please consult an entertainment lawyer.

16. Local legends

Rory O’Donnell, our film course director gave me this and the next tip. He has sometimes made short films documentary style about the local legend. And local legends don’t need to be international giants. They can be known in their own community, no matter how small, as the guy or gal who can do something well.

17. Press random article on Wikipedia

Rory also writes and shoots short films regularly. Sometimes he pushes ‘Random Article’ on Wikipedia to see if anything useful or inspiring pops up.

18. Newsjacking

This is one of my favourite ploys to create clickbait and interest in something I am doing. There is no reason why you can’t do this too.

This year during Wimbledon, every Brit wanted Andy Murray to win wimbledon. Of course he didn’t. But I newsjacked it by writing an article called 7 Lessons Filmmakers Learn from Andy Murray.

Can you think of a trending topic that would inspire you?

19. Office pranks

Do you remember the last time your office mates pulled a fast one on you? Maybe this is a situation that you can recreate as a short film. Here’s 10 classic office pranks that never age. Why not restage one of these and film it as a short film.

 Fade Out

Now a word about writer’s block.
When you are jammed remember that there is no such thing as lack of talent. I want to explode the talent myth.

When you are jammed it is solely down to your confidence. Or lack of it. How do you build confidence? Stop moaning. Stop hanging around feeling sorry for yourself. Just do it.

Did I miss anything? Leave it in the comments box below, or ping me an email elliotgrove@raindance.org

Elliot Grove
Elliot Grove founded Raindance as a thought experiment: Can you make a film with no money, no training and no experience, he asked? When people like his first intern Edgar Wright started making movies he started the Raindance Film Festival to celebrate their work in 1993, the British Independent Film Awards in 1998. Elliot has produced over 150 short films, and 5 feature films. He has written eight scripts, one of which is currently in pre-production. His first feature film, TABLE 5 (1997) was shot on 35mm and completed for a total of £278.38. He teaches writers and producers in the UK, Europe, Japan and America. In 2006 he produced the multiple-award winning The Living and the Dead.
In 2013 he relaunched the production arm: Raw Talent with the cult film director Ate de Jong. Their first venture was the psychological thriller Deadly Virtues: Love.Honour.Obey. finished late 2013. 
Here you can watch the 2015 BIFA’s from the red carpet to all the awards. Elliot’s interview is at 1:27:00

He has written three books which have become industry standards: RAINDANCE WRITERS LAB 2nd Edition (Focal Press 2008),  Raindance Producers’ Lab: Lo-To-No Budget Filmmaking (Focal Press 2013) and 130 PROJECTS TO GET YOU INTO FILMMAKING (Barrons 2009). He was awarded a PhD in 2009 for services to film education. His first novel THE BANDIT QUEEN is scheduled for publication next year.

Elliot teaches several courses at Raindance including Lo To No Budget Filmmaking and Writer’s Foundation Certificate.

Have a look at the 2015 Raindance Film Festival Opening Night sizzle reel:

Read articles by Elliot Grove.

19 Great Ways To Brainstorm Short Film Ideas