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Probably wrapped too tight for New Orleans." We learn about Martin's character by the way he describes other people in this brilliant, all-around character-defining monologue.How could you use a similar technique to quickly establish characters in your short film?This chapter focuses on creating original characters, developing themes, and ways to create a unique visual, metaphorical, and symbolic language in your film.The more you know about your characters, the easier it is to write your script.Make sure your characters are not on a "magic carpet ride" type of journey through the story, just being carried along by a series of uncanny coincidences.When planning stories, keep in mind the three states of being for characters: Have your characters make active choices that make events happen.We understand everything we need to know about these characters by what they do in each scene, how they react to each other, and the choices they make.
Want is the worldly plot goal to save the princess, rob the bank, save the world, find the treasure, or win the race.He starts off by saying the soldiers are a "group of rock and rollers with one foot in the grave," foreshadowing upcoming events.One edgy character is described as "being wrapped too tight for Vietnam.Or you could write about three characters in one situation, where one character is passive, one reactive, and one active.Movie Note In Apocalypse Now, Martin Sheen's character describes the men in his outfit with a voice over (VO) as the camera pans around the gunboat.
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What ways could you use digital tools to have characters talk to animated objects or animals, such as a conversing bobcat that gives advice?