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Wednesday, January 9, 2013
Thursday, February 4, 2010
Chracterizations- Brainstorm
We are able to come up with new plots at least some of them are innovative and humorous. I am confident enough that anytime given opportunity we can impress 50% of producer/director regarding the plot. Anyway you can’t be very radical in script in Telugu at least. But the story has limited importance in terms of business and convincing the producer.
Characterizations:
One more important thing we have to see is how can we innovate on characterizations? I mean – Prakash Raj of Bommarillu who takes too much care of his kids, Mahesh Anand of No1 who is sadist. We should not see Artistes and try to narrate a plot or story for their default characterizations like Ravi Teja is always a careless macho man, Dharmavarapu is always satiric lecturer. If you take his a script of that sort then your plot lacks feels. Basically you should have your own characters which should be acceptable to audience and the artiste should be challenged to play them.
Emotions:
Be careful about emotions: The kind of emotions given to the audience will decide the movie talk. Take Simbhu, vaadi ladies meema pettanam chala inchadam ane emotion tho bathukuthunnadu. Basically audience don’t know that he giving them a new emotion by dominating the heroine or sth. But they liked it. I have seen a movie Village lo Vinayakudu – Basically a girl loves a fat guy and want to be accepted by his family. After all she talked about him, when they see him everybody is upset….how they react how they try to tell he all is all a new emotion. Again Bommarillu how a son feels when his father is taking too much care of him ….another new emotion (he is kind of embarrassed but can really say that). Somehow we have to create new emotions and in turn new experience to the audience. Tellani vanni paalu kaadu, Nallani vanni neelu kadu. It is not always comedy where can’t resist to laugh or sentiment where can’t resist to cry.
One observation on Trivikram:
To me he always creates a character with a false emotion like somebody who hates ladies, who is too worried about his marriage etc. Now it is all how others react either positive or negative to his emotions will create an inherent comedy with his sarcastic dialogs.
Nag who hates ladies can’t tolerate they talking to each other: He says – Emi matladukuntarayya veelu eppudu chude office lo canteen ekkada padithe akkada….
The Pune says: Sir meeko vishayam teledu, matladu kovadaniki time saripodam ledani kontha mandi lunch kuda maanesaru…..!
Like that.
Summary:
We have to note down some weird (false) emotions which are required for comedy. Also some feelings like embarrassment, elation at specific instances have to capture and recreate otherwise we cannot show difference.
Some points Nani added:
We should be able to extend the any existing sequence/ comedy/ scene to next level otherwise we cannot call ourselves in the race. Basically that is the test of character.
We should focus on limited budget scripts and sequences, because that is what you will end up to start with.
Characterizations:
One more important thing we have to see is how can we innovate on characterizations? I mean – Prakash Raj of Bommarillu who takes too much care of his kids, Mahesh Anand of No1 who is sadist. We should not see Artistes and try to narrate a plot or story for their default characterizations like Ravi Teja is always a careless macho man, Dharmavarapu is always satiric lecturer. If you take his a script of that sort then your plot lacks feels. Basically you should have your own characters which should be acceptable to audience and the artiste should be challenged to play them.
Emotions:
Be careful about emotions: The kind of emotions given to the audience will decide the movie talk. Take Simbhu, vaadi ladies meema pettanam chala inchadam ane emotion tho bathukuthunnadu. Basically audience don’t know that he giving them a new emotion by dominating the heroine or sth. But they liked it. I have seen a movie Village lo Vinayakudu – Basically a girl loves a fat guy and want to be accepted by his family. After all she talked about him, when they see him everybody is upset….how they react how they try to tell he all is all a new emotion. Again Bommarillu how a son feels when his father is taking too much care of him ….another new emotion (he is kind of embarrassed but can really say that). Somehow we have to create new emotions and in turn new experience to the audience. Tellani vanni paalu kaadu, Nallani vanni neelu kadu. It is not always comedy where can’t resist to laugh or sentiment where can’t resist to cry.
One observation on Trivikram:
To me he always creates a character with a false emotion like somebody who hates ladies, who is too worried about his marriage etc. Now it is all how others react either positive or negative to his emotions will create an inherent comedy with his sarcastic dialogs.
Nag who hates ladies can’t tolerate they talking to each other: He says – Emi matladukuntarayya veelu eppudu chude office lo canteen ekkada padithe akkada….
The Pune says: Sir meeko vishayam teledu, matladu kovadaniki time saripodam ledani kontha mandi lunch kuda maanesaru…..!
Like that.
Summary:
We have to note down some weird (false) emotions which are required for comedy. Also some feelings like embarrassment, elation at specific instances have to capture and recreate otherwise we cannot show difference.
Some points Nani added:
We should be able to extend the any existing sequence/ comedy/ scene to next level otherwise we cannot call ourselves in the race. Basically that is the test of character.
We should focus on limited budget scripts and sequences, because that is what you will end up to start with.
kavithalu...
Prasad - Inspired by Guru Veturi Sundra rama murthy.
Kavithalu...these are called naaneelu. can be used in our scripts.
Manasu ku nachina manishi
Yasassu theche nagishi
Thappaka dorukuthaayi chestehe krushi
Chaliki kappina duppati
Sankranthi ki chesina nippati
Hyderabad lo dorike goppa Tea
Anandanni nimpe aatmeeyula bheti
Kaavalanipistuntayi mati maatiki
Entha thaaginaa theerani daaham
Kontha nadakake patte chemata
Maati maatiki paadalsina pata
Adhika raktha potu kotte ganta / chakkera vyadhi kotte ganta
Jaali leni manava mrugaalu
Gaali lo kalipesaaru vaishanvi praanalu
Kanikaram leni kaala naagulai
Kaneesam pasikandanee chudaledu
Please ani vedukonna karigipoledu
Peeka nulimesaaru kaalchi buggi chesaaru
Thalladillina thandri gunde pagilindi
Pagavaadiki kuda vaddu ee paristhithi
Velli cheripoyaadu thalli ky bhuvininchi diviki
Akhilaandhra lokam arpisthundi asru nivaali
-- Prasad TVMK
Kavithalu...these are called naaneelu. can be used in our scripts.
Manasu ku nachina manishi
Yasassu theche nagishi
Thappaka dorukuthaayi chestehe krushi
Chaliki kappina duppati
Sankranthi ki chesina nippati
Hyderabad lo dorike goppa Tea
Anandanni nimpe aatmeeyula bheti
Kaavalanipistuntayi mati maatiki
Entha thaaginaa theerani daaham
Kontha nadakake patte chemata
Maati maatiki paadalsina pata
Adhika raktha potu kotte ganta / chakkera vyadhi kotte ganta
Jaali leni manava mrugaalu
Gaali lo kalipesaaru vaishanvi praanalu
Kanikaram leni kaala naagulai
Kaneesam pasikandanee chudaledu
Please ani vedukonna karigipoledu
Peeka nulimesaaru kaalchi buggi chesaaru
Thalladillina thandri gunde pagilindi
Pagavaadiki kuda vaddu ee paristhithi
Velli cheripoyaadu thalli ky bhuvininchi diviki
Akhilaandhra lokam arpisthundi asru nivaali
-- Prasad TVMK
Movie scripts -2009 - heading for saturation. No , not again
Hero in Villain's house by interval and with a interval caption " Enjoy the Game " - we are tired to see this again and again and again. Its enough ... almost evey movie in the last year had boringly same screenplay.
A summary on script patterns-1
Vocabulary is knowledge:
Example Go back to rock age where people don’t have vocabulary. How will say “I am hungry”…say How will he say “ I am hungry but my throat is bad so I will only have something hot?” ….just imagine if they have to talk little deep you need some ideas to be captured as “vocabulary”/ “Words” – which might be a feeling, an object, an idea or a sequence. Then they can talk and think deep.
So we have to create a vocabulary – means collection of concepts identified with some hints, so that we can think at next level on top of it. At the same time we all should understand these concepts in the same way. Otherwise will start every time from scratch. What do you say?
Say if we 3 accept something 100% after brain storming, we have to capture that with a hint (or new word if possible)…..just in the previous mail Nani was saying Suresh Krishna way? What does that mean …. A concept similar to Bhasha, right? Those kind of words has to be introduced consciously for all those ideas, concepts and observations. It is not only just scripts to be captured it is also important to keep that thinking along with it. We should not re-invent the wheel whenever you want to roll.
I always try to summarize the takeaways in any discussion but end of the day we don’t even remember the summary as well.
About current scripts and current thinking, we will definitely need the plots and extended scripts also. Only thing I am try to say is we need to build the skill on Characterization and Emotions as well so that we can be more complementary. Everybody will have some plot, some kind of characterizations and emotions and some cues from current trends. Only thing where is stressing or spending more time, decides his output. Take GodFather, which has excellent plot and characterization, we don’t know how trendy it is.
Arya2 album is awesome even Cherry likes so much. The song “Guppedantha gundeki ….” Was the best in terms of lyrics.
From here on…please try to bring your idea with an identifier so that we will only brainstorm once.
I will try to name the yesterdays discussion.
Thread based movies:
These are typically weaved upon some comedy, action threads. Story will get complicated to show the difference not the characters. Character are more or less normal.
Like Magadheera, Vikramarkudu, Student No1, Ready and Dhee after that he became trendy.
Plot based – Create a story or plot or scenario for Action/Comedy/ Sentiment. Like “English Paper – Gundu” in Preminchukundam raa for comedy.
And the characterization is simple like anybody else in the society..it is just story/sequence/plot decides the emotions typically.
The Raja Mouli/Seenu Vytla way
Offbeat Movies:
Happydays – he just wanted to show different emotion of student life, the story automatically demanded huge no if characters, esp some strange characters like Tyson (a Einstein brother) etc.
VVVinayakudu, Manmadudu, Malleswari as I already explained, Asta Chemma – A general youth suffering to act as PedaRayudu, a lady who is desperate for Mahesh (at least as a name)
Characterization and Emotions based: Create a characters with specific emotions in mind and rotate the story to extract his character and emotions. Again true for Comedy/Action/Sentiment.
This is Sekhar Kammula/Trivikram way.
Trendy Movies:-
Follows a particular trend. Ex After Samara- The Narasimha Naidu, Adi, Samba, Indra etc all follows sumlime first half in hero exile and faction based power second half …hero returns seema kind.
All Puri Jaannath movies how a “careless macho man” reacts for love (Idiot), reacts to family (Amma nana…), reacts mafia (Pokiri) etc with different sequences.
Any parody comedy etc.
Extend Audience Pulse: Accept the audience pulse like Ravi Teja is careless macho man and try something different scenario inside a framework. This is fit the bill anywhere, even the bits and pieces.
The Puri Jagannath/ VV Vinayak way
Rest of them obviously are routine movies as they don’t fit in anywhere.
- Rama Thippavajjala
A summary on script patterns-1
Vocabulary is knowledge:
Example Go back to rock age where people don’t have vocabulary. How will say “I am hungry”…say How will he say “ I am hungry but my throat is bad so I will only have something hot?” ….just imagine if they have to talk little deep you need some ideas to be captured as “vocabulary”/ “Words” – which might be a feeling, an object, an idea or a sequence. Then they can talk and think deep.
So we have to create a vocabulary – means collection of concepts identified with some hints, so that we can think at next level on top of it. At the same time we all should understand these concepts in the same way. Otherwise will start every time from scratch. What do you say?
Say if we 3 accept something 100% after brain storming, we have to capture that with a hint (or new word if possible)…..just in the previous mail Nani was saying Suresh Krishna way? What does that mean …. A concept similar to Bhasha, right? Those kind of words has to be introduced consciously for all those ideas, concepts and observations. It is not only just scripts to be captured it is also important to keep that thinking along with it. We should not re-invent the wheel whenever you want to roll.
I always try to summarize the takeaways in any discussion but end of the day we don’t even remember the summary as well.
About current scripts and current thinking, we will definitely need the plots and extended scripts also. Only thing I am try to say is we need to build the skill on Characterization and Emotions as well so that we can be more complementary. Everybody will have some plot, some kind of characterizations and emotions and some cues from current trends. Only thing where is stressing or spending more time, decides his output. Take GodFather, which has excellent plot and characterization, we don’t know how trendy it is.
Arya2 album is awesome even Cherry likes so much. The song “Guppedantha gundeki ….” Was the best in terms of lyrics.
From here on…please try to bring your idea with an identifier so that we will only brainstorm once.
I will try to name the yesterdays discussion.
Thread based movies:
These are typically weaved upon some comedy, action threads. Story will get complicated to show the difference not the characters. Character are more or less normal.
Like Magadheera, Vikramarkudu, Student No1, Ready and Dhee after that he became trendy.
Plot based – Create a story or plot or scenario for Action/Comedy/ Sentiment. Like “English Paper – Gundu” in Preminchukundam raa for comedy.
And the characterization is simple like anybody else in the society..it is just story/sequence/plot decides the emotions typically.
The Raja Mouli/Seenu Vytla way
Offbeat Movies:
Happydays – he just wanted to show different emotion of student life, the story automatically demanded huge no if characters, esp some strange characters like Tyson (a Einstein brother) etc.
VVVinayakudu, Manmadudu, Malleswari as I already explained, Asta Chemma – A general youth suffering to act as PedaRayudu, a lady who is desperate for Mahesh (at least as a name)
Characterization and Emotions based: Create a characters with specific emotions in mind and rotate the story to extract his character and emotions. Again true for Comedy/Action/Sentiment.
This is Sekhar Kammula/Trivikram way.
Trendy Movies:-
Follows a particular trend. Ex After Samara- The Narasimha Naidu, Adi, Samba, Indra etc all follows sumlime first half in hero exile and faction based power second half …hero returns seema kind.
All Puri Jaannath movies how a “careless macho man” reacts for love (Idiot), reacts to family (Amma nana…), reacts mafia (Pokiri) etc with different sequences.
Any parody comedy etc.
Extend Audience Pulse: Accept the audience pulse like Ravi Teja is careless macho man and try something different scenario inside a framework. This is fit the bill anywhere, even the bits and pieces.
The Puri Jagannath/ VV Vinayak way
Rest of them obviously are routine movies as they don’t fit in anywhere.
- Rama Thippavajjala
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