First of all, through this week’s study, I learned that the structure is the same whether you write a novel or anything else. Everything in the movie exists for a reason. From reality to fantasy, from normality to chaos, it needs to create boundaries. Once the hero crosses that boundaries, he eventually confronts and tries to overcome his inner flaws. There needs to be a contrast between these two worlds. When you understand what the obstacles are, what they want, you have a story. Character attraction, character design and acting, that character is so expressive in his movements.
The script has beautiful curves (the character’s circumstances) :
You can define a story in two ways, he defined a story as a curve, and another way, a circle. Many stories follow a simple, basic plot pattern. This mode is called a story arc.
Description: Introduce the characters and the problems they face. ( Introduce the background, characters and questions)
Push events: This is part of the rising action. The rising action moves the plot forward by showing the characters struggling with their problems.
Climax: The climax is our most intense moment, where the caharacter faces legal or other crises.
Descending action: Moves the plot from climax to conclusion.
Resolution/Resolution: Return the story to stability by showing the climactic end result.
A story, as a circle, is another way of thinking. It’s a circular journey. Because you go back to the final solution, which is to go back to the beginning. But when we got to the starting point, everything changed.
From top to bottom, the moment when the hero enters a new environment and is forced into it, usually means that the hero is struggling with some kind of incredible force. The second one defines the inner struggle. Once the hero crosses the chasm, he finally confronts and tries to overcome these, his shortcomings or problems. From left to right, overcome your inner fear or weakness.
A character can be a protagonist or a villain. They can be dynamic or static. They can be round or flat. A character that experiences internal growth or learns important lessons is called a dynamic character. A static character is a character that changes very little throughout the story. They tend not to learn any important lessons or make any major changes, and circular characters are usually well-developed lifelike characters with realistic emotions, conflicting emotions, and multiple traits. Flat characters, on the other hand, usually have a latitude and often lack emotional depth. We might know some of their characteristics, but we might not understand why they are the way they are, because the author wants to give the reader a little bit of doubt.
Each story has the same eight archetypes:
Heroes: What makes them heroes? Nobody could do it, he did it, they changed the world, that’s why there’s a hero. We experience the journey through the eyes of the hero.
Mentors: Their job is to provide motivation, insight, and training to help heroes.
Gatekeepers: Their job is to protect this particular world and provide the tests necessary to prove a hero’s commitment and worth
Pioneers: Pioneers announce change. They tell the audience and the hero that significant change is coming, and it doesn’t even have to be a person, it can be an event. It can be a shadow over Los Angeles, which means something is about to happen. It can be an event or force: the start of a war, drought or famine, or even an AD in a newspaper.
Shapeshifter: The man’s loyalties are not entirely clear. He may or may not take the side of the protagonist. They keep the audience on edge at dusk. If you want to keep your readers interested in your story, you need a good shapeshifter.
Shadow: Shadow is just the opposite of hero. Not necessarily bad guys, they’re just the opposite of heroes. If you don’t, they do. If the girl is organized, he is sloppy, if she likes sports, he hates sports. Usually the opposite is true. These are two worlds in conflict.
Cheater: This is a very interesting character in many ways, but their function is to show us the absurdity of the situation. In order to increase the tension, in order to relieve the tension, so the appropriate use of a cheater, can keep the audience up to speed. Audiences enjoy their disruption of the status quo, turning mundane worlds into chaos with their quick diction and body movements. Let the character see the absurdity of the situation and possibly force change.
Allies: There may be a team, or Allies, whose main job is to fill in gaps, or flaws in the hero.
Key considerations:
1.Establish your character’s personality or behavior for the movie or scene.
2.Determine anatomical details and limits of body fluidity and movement required (stretch and squeeze)
3.Identify all the actions your character performs in your artwork
4.Design drives the actions and emotions of the narrative
5.Clearly frame or lay out your characters in a scene
6.Audio is designed to support the character’s performance and actions. Audio determines time, and voiceovers are sometimes used to replace parts that don’t require animation.
Animation through the re-interpretation of human form, the use of anthropomorphism, inanimate objects to life, is an important part of animation. It’s usually anthropomorphic plus human features of the animal. That’s because we’re interested in the human experience. You just put in an object, a property or an asset, and on that character, that character is immediately a person. It has a cup in its hand, or it has a belt, which we know is a human gesture, a hint.
The character’s actions should convey the necessary actions related to the narrative, what the character’s dilemmas are, and how you reflect those issues is very important. The attitudes and emotions of the action’s execution will be contectualized and emphasize the narrative goals. The most important is that it connect the character’s dilemma with the audience. Either it drives the narrative, or we understand the character’s thinking. Either way. Any random movement or emotion can confuse us. Absurdly exaggerated, but it is doable. The action is so fast and not naturally, but it is almost a style. In animation, if you move it as normal, it will look bad. For example, if a character raises an eyebrow, it could be a very important key piece of information. If there are any unsuccessful behaviors or you don’t exaggerate them. Either the characters don’t express success or you don’t make us think.
At the same time, I also learned about the types and functions of different film titles. One, a very powerful opening sequence that, of course, introduces the theme of the film and two, the title sequence tries to tell the basic information of the story, assuming a virtual cognitive environment. Third, subversive discontinuity and deliberate destruction of frames, a lot of graphic matching, which has more to do with the evocation of the background than direct communication.
I think I need to spend time working on: how to convey drives, you know you’re going to have a lot of environments, you’re going to have multiple threats. Do you have the means to express yourself? In other words, do you have enough scene, structure and technology? To tell a story with a character, you need interaction, contrast and challenge. What drives the plot? It could be a headline, it could be a open store, it could be a river when a photo or a sign, because it’s a cut to the next scene. In other words, it drives the plot and takes us to the next part. So whatever’s in there, whoever’s on the screen. They are all used to move the plot along.