I am willing to accept Tom Brady as the GOAT. I am glad that Rita Moreno, Sally Field, Lily Tomlin, and Jane Fonda can still find work. I cannot stand face lifts unless required after disfiguring accidents. I will give this movie a try, but hope I do not cringe.
Hollywood movies are simple. Though writing a successful Hollywood movie is certainly not easy, the stories for mainstream Hollywood films are all built on only three basic components: character, desire and conflict. All film stories portray a hero who faces seemingly insurmountable obstacles as he or she pursues a compelling objective. Whether it's Clarice Starling trying to stop Buffalo Bill in Silence of the Lambs, Captain Miller Saving Private Ryan, or Billy Elliott trying to gain admission to a ballet school, all these protagonists confront overwhelming conflict in their pursuit of some visible goal. Plot structure simply determines the sequence of events that lead the hero toward this objective. And whether you're writing romantic comedies, suspense thrillers, historical dramas or big budget science fiction, all successful Hollywood movies follow the same basic structure. In a properly structured movie, the story consists of six basic stages, which are defined by five key turning points in the plot. Not only are these turning points always the same; they always occupy the same positions in the story. So what happens at the 25% point of a 90-miniute comedy will be identical to what happens at the same percentage of a three-hour epic. These percentages apply both to the running time of the film and the pages of your screenplay. Since one script page equals approximately one minute on the screen, the 75% mark of a 120-page screenplay will occur at page 90, or about 90 minutes into the two-hour film.
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Something must happen to your hero one-fourth of the way through your screenplay that will transform the original desire into a specific, visible goal with a clearly defined end point. This is the scene where your story concept is defined, and your hero's outer motivation is revealed. Outer motivation is my term for the visible finish line the audience is rooting for your hero to achieve by the end of the film. It is here that Tess discovers that Katherine has stolen her idea in Working Girl, and now wants to close the deal herself by posing as a broker. This is what we're rooting for Tess to do, and we know that when she's accomplished this goal (or failed to), the movie will be over. This is arguably the most important structural principle you can master. If your hero's visible goal is defined too early in your script, the story will run out of steam long before the climax. If the outer motivation isn't defined until the half way point, the reader will have lost interest and moved on to another screenplay. You've probably noticed how often I've used the word visible in this article. I want to prevent any confusion between the plot of your movie and the inner journey your hero takes. Structure is a formula for laying out the events we see on the screen. Your characters' growth or arc, which will be gradually revealed throughout the story, grows out of their pursuit of the visible goal, but it doesn't conform to these strict turning points. This is one of those principles that sounds simple, but is hard to incorporate in your writing. Hollywood movies are built on what the characters do as they pursue a clearly defined endpoint or outcome. Because much of what we respond to emotionally grows out of the hero's longings, wounds, fears, courage and growth, we often focus on these elements as we develop our stories. But these invisible components of the story can emerge effectively only if they grow out of a simple, visible desire. On rare occasions, as in My Best Friend's Wedding or The American President, the outer motivation (breaking up the wedding; passing the crime bill) is declared at the 10% mark, but the plan for accomplishing the goal won't be defined, and no action will be taken, until the one-quarter mark. It is at that point that your hero begins to experience...
For the next 25% of your story, the obstacles become bigger and more frequent, achieving the visible goal becomes far more difficult, and your hero has much more to lose if he fails. After Mitch McDeere begins collecting evidence against The Firm at that movie's midpoint, he now must hide what he's doing from both the mob and the FBI (complications), and failure will result in either prison or death (higher stakes). The conflict continues to build until, just as it seems that success is within your hero's grasp, he suffers...
Several things must occur at the climax of the film: the hero must face the biggest obstacle of the entire story; she must determine her own fate; and the outer motivation must be resolved once and for all. This is the big moment where our heroes go into the Twister; the Men In Black go up against the giant alien, and the Jewish factory workers make their escape in Schindler's List. Notice that the climax can occur anywhere from the 90% point of your screenplay to the last couple minutes of the movie. The exact placement will be determined by the amount of time you need for...
No movie ends precisely with the resolution of the hero's objective; you must allow the audience to experience the emotion you have elicited in the exciting, sad or romantic climax. You may also need to explain any unanswered questions for the audience, and you want to reveal the new life the hero is living now that he's completed his journey. In movies like Rocky, Thelma and Louise and The Truman Show, there is little to explain, and the writer's goal is to leave the audience stunned or elated. So the climax occurs near the very end of the film. But in most romantic comedies, mysteries and dramas, the aftermath will include the final five or ten pages of the script. Understanding these stages and turning points provides you with an effective template for developing and writing your screenplay. Is your story concept defined at the one-quarter mark? Is your hero's goal truly visible, with a clearly implied outcome, and not just an inner desire for success, acceptance or self worth? Have you fully introduced your hero before presenting her with an opportunity around page 10? Does she suffer a major setback 75% of the way into your script? But a word of caution: don't let all these percentages block your creativity. Structure is an effective tool for rewriting and strengthening the emotional impact of your story. But you don't want to be imprisoned by it. Come up with characters you love and a story that ignites your passion. Then apply these structural principles, to ensure that your screenplay will powerfully touch the widest possible audience.
Tilting is when you move the camera vertically, up to down or down to up, while its base is fixated to a certain point. Again, like panning, this move typically involves the use of a tripod where the camera is stationary but you move the angle it points to. These shots are popular when introducing a character, especially one of grandeur, in a movie.
However, Ubiquiti documents only this initial setup. Anything else, and you're on your own. Even the most basic task of using the app to communicate with the mesh point, after setup, is not documented the Quick Start Guide, and there is no User Guide for a stand-alone mesh point. 2ff7e9595c
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