Donald L. Vasicek

Tag: film

  • “Writing Movies and Documentaries, 101”

    The Sand Creek Massacre Movie Poster

    Writing of any form requires
    study and research. The strength
    of any type of writing resides in
    the application of what one learns
    and research, and then, applies it
    by writing, writing, and more writing.
    Each time one writes something, they
    become a better writer.

    It is rare a writer is hired to write a
    documentary film. Many documentary films
    do not have a script. Those that do, are
    usually written by the director/producer
    of the film. If a documentary script is written,
    then you must write a double column script.

    In a double column script you write the
    visuals/images in the left column and the
    audio/sound in the right column. While
    the double-column script can help nail
    down the exact shots blended with the
    sound, the downside is that it places the
    filmmaker in a corner. This corner is
    a place that can limit the filmmaker’s
    creativity, and virtually eliminate a cinema
    verite approach to making documentaries.

    As for feature films, short films, etc., one
    can learn how to write screenplays through a
    variety of ways. No approach to learning how
    to write screenplays is inscribed in marble. It
    is dependent upon the individual writer. Some take
    screenwriting classes. Others study screenwriting
    books. Some work with a script consultant until
    they have their screenplay market ready. And others
    wing it. And still others, utilize a combination of all
    of the above.

    You can determine what works best for you by knowing
    who you are, how you best learn, why you want to write
    documentaries, features, etc., and what audience you
    want to attract with your work, and why. Answering
    these questions will give you insight into what to
    write and the approach to take in order how to learn
    to write. That is the Zen of Writing.

    The fine point of it is if you want to write movies
    and/or documentaries, be sure you utilize more
    than your passion for the subject matter unless
    you are writing, simply, for the joy of writing.
    Study and research Hollywood box hits. Study
    and research successful documentary films.
    Make certain you know, before you begin
    writing, what you need to do in order to
    write a successful script. Otherwise, you
    will enter the world of writer who jumps
    in with both feet without being aware of
    what the reality of the business. In turn, this
    can cause you to go on a journey into
    insanity.

    Donald L. Vasicek
    Writer/Filmmaker/Consultant
    Olympus Films+, LLC
    http://michaelc.nextmp.net/wordpress
    dvasicek@earthlink.net

  • “The Naked Writer’s How to Get Movement in Talky Scenes”

    When you create movement in a scene for the mere sake of moving characters about in talky scenes, it is very likely the scene comes off just as that on the screen, creating movement for the sake of creating movement. Every movement in every scene should orchestrate and expand the character(s), the theme and the story.

    For example, instead of having two characters walk in a park and talk to give them movement and us story information, have one of them riding a bicycle and the other using a pogo stick, you see different sides of who they are. Let’s pretend the theme is health. Maybe the bicycle rider is unable to walk or run for distance because of a serious knee injury he sustained in college. This disability will come suspensefully into play later when the character has to save the other character from the villain before he kills him. When his knee fails him, he hops on a bike and saves the day.

    Simultaneously, the pogo sticker is pogo sticking because walking doesn’t move him along rapidly enough and riding a bicycle is boring for him. He is a Type A personality. His impatience causes him to be disabled by the villain. He uses pogo sticks to escape unaware that to slow down would save himself because his friend is chasing the villain on a bad knee.

    It all culminates when his friend comes to the rescue just as he is slowing his pace because of exhaustion. He learns that speed is not always the quickest way to success.

    It is obvious by this example how much the story is embellished and the characters fleshed out by not only giving the characters movement in talky scenes, but giving them dimension as well. In turn, this dimensionalizes the story and makes for more depth in the film.

  • Documentary Film/Story