All language subtitles for 08 - The idea, conflict and premise I.eng

The idea,

the premise and the conflict

they are notions

quite important for
who works in script.

Let's see how Pixar

It has some rules for counting ideas.

Maybe that can help
us to start shaping

to the idea that is in the head
and that we do not finish specifying.

It's like a kind of
dramatic mini-structure

that can serve as a
mold to start naming

and shape that idea we have.

Then we will see the premise a bit.

The premise is a very complex concept,

but when we understand what it means,

it's like a kind of poster

that we have on top of
the computer when we write

and it's something that
works like a compass all the time

or like a north and
that makes us not get lost.

Then we will see
the issue of conflict.

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It is very important to
understand the ideas of action

and the idea of character.

We will work these three concepts well

and then we finish shaping our idea.

Let's analyze this
notion of idea a little more.

If we had the movie "Shark"

and take it to space,

it would be "Alien:
the eighth passenger".

This is also a well
known pitch technique,

which is to quickly put two
things in a person’s brain,

of which that person has a reference,

and propose a third idea.

It's like telling
them that I have a movie

which is like "Shark", but in space.

So, maybe, that would
have been a possible pitch,

a possible way to tell the idea
of "Alien: the eighth passenger".

We see another similar example.

"Romeo and Juliet", the day
of the sinking of the Titanic.

And there we would
have the movie "Titanic".

Still the same idea

of a seemingly impossible love in
the midst of a tragedy of the Titanic.

In this way we are counting

an idea in a very
powerful and very effective way.

The last example is an animation.

What happens if we have cats in space?

They would be "Thundercats."

So, this is one way,
I usually get a smile

in the interlocutor when we tell her

because they are two
things that have nothing to do,

but when we unite
them they have a logic.

Pixar has some rules to tell an idea.

At least it can serve
as a guide to see how

this idea that we don't
have at all written yet

or it’s not entirely clear,

in one of those it
serves as an array, template,

To finish writing it.

It's a bit like that,
suppose this is a timeline,

so Pixar suggests that we say:

Once upon a time there was one or one,
and there we talked about our character,

that every day, he did such a
thing or he lives in such a place.

So there we present the character

and then we present his
universe and his daily life.

But one day

Something happens.

There is something that,
then, in the dramatic structure

we will see what it is called,

but one day that balance is broken
and that character has to do something.

Then, and for that, just for that,

that character has to do some action

and that action leads
me to do another action

and for that, such something else.

Until finally,

and there we write what
happens to the character.

We could do an
exercise of: Once upon a time

a character who did
such a thing every day,

but one day something
very important happens

and for that and that, until finally.

Let's see, so that
it is not so abstract,

what would this Pixar
rule be like to tell an idea,

let's apply it to Zamba,
let's see what happens.

It would be more or less like this:

There was once a child, Zamba,

who got bored on
excursions to historical monuments,

this marks a daily life,

But one day he
escapes and travels in time.

That's why he knows the
protagonists of the story

and that's why he lives
his struggles and conflicts.

Until he finally comes back,

Having learned the meaning
of the historical monument.

What Pixar is doing is simplify a lot

the dramatic structure
of three acts of Aristotle

that we will see later.

Actually, there is a character,

a daily life, as we saw before,

a trigger

a very important event
that marks a before and after,

that makes the character act

and that's why he knows
the characters in the story

and that's why other
things happen to him.

Finally, in the last
act it would be that:

finally he returns having learned
the meaning of the historical monument.

This is actually counting in
the end, an arc of the character.

He is no longer the
bored child of the beginning,

but now he is
interested because he changed.

So, these Pixar rules
are a very small synthesis,

but you can help us start shaping

in our notebook, in
an eraser or wherever,

A way to tell our idea.

Let's start by
analyzing the idea of conflict.

I remember being in the
first year of the Film School

and ask my teacher if I
could write a short film

That had no conflict.

She said yes, I
could write a short film

without conflict,

but in reality we are very used

to tell us stories
where there is a conflict.

We talked so much about conflict,
but it would be nice to define it.

What is a conflict? They
are two forces in tension

that give rise to the action.

That action causes a reaction

of another force.

Then, there is an
action and reaction game

Until we reach an end.

The conflict ends up being a
kind of trigger for the action.

That is why the idea of conflict
is linked to the idea of action.

I made a drawing to illustrate this.

Imagine that there is a
character in a timeline

Where there is a balance.

But suddenly there is a trigger.

There is an action that puts
our character in a dilemma.

The dilemma is that the rope was cut
and we do not know what will happen.

That is called conflict.

How will our character do

To solve the problem
that was presented to you?

The character is very smart

and suppose you have a nail, nail
it in the wall and matter resolved.

But there is something
unresolved, it is not like at the beginning.

Then, suddenly another force appears
that is superior to the first force,

superior to the scissors, a
pincer that removes that nail.

Our character is in tension again,

we don't know what he will do

and finally shows us that
he is smarter than before

and not only put a
support, but now put a screw

which is stronger than the nail.

We wonder what will happen now.

Now our antagonistic force will come

with a machine to remove that screw.

Our character now assumes
that he will fall into the void.

But our character is smart enough

like to do something we didn't expect

and is to use that antagonistic force

to be able to be in balance again.

If we analyze this cartoon,

I can see that I am a
screenwriter and not a cartoonist.

We see that in
principle there is balance

and there is a force that operates
several times, which we see is the scissors,

the clamp and the machine
for screwing and unscrewing,

which has a
progression, is getting stronger.

We see that our
protagonist also had a progression.

It was getting stronger
because at the beginning

used a resource that is the nail,

then he used another
resource that is the screw

and he ended up achieving what he
wanted, which was to be in balance again

and he managed to
face this screwdriver.

So, it seems to me that this
drawing represents quite well

an extension of the
Pixar scheme we saw before

And it's like a
little dramatic structure.

Let's see how
conflict always has to grow.

Conflict always has to keep us

tied to the armchair or chair and
make us think: what will happen now?