Friday, April 18, 2014

Inciting incident in movies





When To Start Your Story: When Should the Inciting Incident Happen in a Screenplay?


Usually, movies start with a little getting to know you with the main character. We learn what her issue is, her personality flaw, the thing on the inside of her that is the main obstacle to a more perfect life. It’s the thing that establishes the need for change. We also learn about the central character’s milieu: her working life, her home life, her social life. Generally, there’s a problem with it, but we don’t, nor does the character, see the compelling need for change until the inciting incident.
The inciting incident is when the story starts. The rest is prelude to the story. So when should the story start?
Again, as in most screenwriting, there is no hard and fast rule. But there is a soft and slow rule. Don’t do it that way. Get to the story as soon as reasonably possible. On the other hand, we want to care about the protagonist, and, to do that, we need to know her before the shit hits the fan.
So that leaves us with nothing firm to shoot at. Most movies place their inciting incident at around fifteen minutes, give or take a few. The tendency in screenwriting courses it to get to it by page 10-12. I disagree with that, though I tell my students anywhere from 13-18 is okay. Why so much time? Because we want to be fully invested in the character before we run her up a tree and start throwing stones at her.
Would we care about Solomon Northrup (Chiwetel Ejiofor) in Twelve Years a Slave if we hadn’t seen his life before his abduction? Would we care about Dr. Ryan Stone (Sandra Bullock) in Gravity if we hadn’t seen her joking around with the George Clooney character before the disaster? Would we care about what happened to Cate Blanchett’s character in Blue Jasmine if we didn’t know her before bad things happened to her? Okay, bad example, because I still didn’t care about her. But you get the idea. Some time must be taken to learn about our characters. To either get to like them or be fascinated by them as we were with Ron Woodruff (Matthew McConaughey) in Dallas Buyers Club takes time.
Again. How much time? That’s up to you, but in my mind, the better we know the characters – liking them or not – the more interested we will be in their journey.

There are exceptions, of course. There always are. The easiest one to cite is the James Bond franchise, where the first five to ten minutes really has nothing to do with the story, tells us nothing new about the character, reveals no major personality issues (unless you consider killing for a living a personality issue). The opening scenes of a James Bond movie are strictly to pull the audience into that crazy world where the only thing that counts is action. Laws, human life, sometimes even gravity, are ignored in a villain’s pursuit of Bond or in his pursuit of a villain. I’m sure you could cite other examples, but let’s just agree that there is no law in this, just conventions.

Paul Chitlik’s feature directing debut “The Wedding Dress” from his own script, is in post-production. For more information on script writing, read his book, Rewrite:  A Step-by-Step to Strengthen Structure, Character, and Conflict in Your Screenplay, second edition published by Michael Wiese Productions.

Friday, March 28, 2014

Allal El Alaoui ,president of the Tetuan educational shortfilm festival 2014



Allal is honored by Ahmed Housni president of  Tetuan International Festival for Mediterranean Cinema  that will begin on the 29th  til to 5 of March .This festival has reached now its 20th of its edition and it has become one of the most important film festival in Morocco .


Because education shortfilms have become so much asked in this festival around Tetuan district ,Khalid Akali spearheadinf culture and litarature in this festval, has called for a team that will shape the offcial  jury :

1 - Allal El Alaoui president 
2-Soleiman AL Hikioui :film critic 
3-Miss Soad Anakar , weblogger and musilogue 

السيّد علاّل العلاّوي، مخرج سينمائي وتلفزيوني_رئيسا.
السيّد سليمان الحقّيوي، ناقد سينمائي_عضوا
الآنسة سعاد أنقّار، أستاذة باحثة ومؤلّفة موسيقية _

Wednesday, February 26, 2014

Made in Morocco by Abdelouahed Mjahed





             Rbaty people are  impressed by the craft of Abdelouahed Mjahed who  has written a nice shortfilm called Made de in Morocco produced by Hassan Chaoui .The genre of his film is comic containing several stories of characters  facing daily life in Morocco. His work has been praised by cinema - goers and critics at the theatre of Mohamed 5  . Mjahed is a filmmaker whose free spirit is well known among his colleagues and SNRT film directors .

Well done Abdou

Monday, February 17, 2014

The Children Of The Sun By Allal El Alaoui

The glamour of SNRT film makers continues to shine - Fatine's Sarkat Bel lamaan - is in Tangiers



By Ali Karama
            
             Fatine has presented her shortfilm called - The Cry of Bel laaman -this shortfilm reflects the mood of Arab spring .Her film is funded by CCM starring Ahmed Hamada and more Tangiers actors . 

             Fatine is a SNRT film director employed at the Cultural channel named Arrabia TV channel.Fatine is the first SNRT film director funded by CCM and followed this year by Allal El Alaoui ,Al Oula Tv, in his coming shortfilm called The Step co-written by Khalid Akali and Allal El Alaoui  .

"Abu Nahab " by Ahmed Snoussi in Amsterdam





By Ali Karama

Amsterdam is the next step ffor the Moroccan comedian Ahmed Snoussi Bziz who will prohibit his show and knwing that Si Ahmed has been prohobited from official media in Morocco for over 20 years, Snoussi intended to commemorate the February 20 Movement , on the occasion of its third anniversary .

This is the Theatre De Meervaart Amsterdam to house on February 26 his new show "Abu Nahab " (" The Looter ").
"Abu Nahab " is a relentless satire denounces the decay of power and its abuses in the
 post-revolutionary period known from the Atlantic Ocean to the Persian Gulf.

Because since the emergence of an Arab sentiment that wants to emancipate and regain his freedom , plans that feel they have escaped the popular outburst of redoubled ferocity and ensure grain not to be surprised by the storm. It ignores the countdown was triggered and the dice are thrown .


Tuesday, February 04, 2014

Bourghiba derrière prison par Raja FERHAT

New recommendations on media presented by Civil society associations


By Ali Karama

New recommendations on media are introduced by civial society and supported by the ministry of communication  to be practised on national televisions in Morocco.But, first these recommendations will  be sent to to the supreme media court HACA to supervise its bonds , and then it will be introduced to the administative assembly of SNRT in order to start using in it in  media .By the way , too many associations are fed up of corruption and unemployment already manipulated by mafia - like in the world of media which orphanize Moroccan technicians and artists.


Friday, January 24, 2014

Good Bye ISADAC




Written by Allal EL Alaoui

Acting in Morocco is not new .It is related to Halka; actors gathering people around them usually in a cirle and you can listen to this kind of stories right in the heart of Marrakech ;  a place called Jamaa El Fna square .Now,some Moroccan towns like Mekness  invite the same Halkas just to seduce consumers because it is about buying goods and at the same time  having pleasure.

Right after the independance of Morocco, some Moroccan students went to France to study theatre just like Taib Essadiki,Chafik Shimi and more others . Others prefered to go to Egypt or Syria because of patriotic or nationalistic reasons .Any way, some forms of  theatre have been known in Morocco ;although in general Arabs already refused theatre in the past because its dareness to blasphemy .

After Cairo ;Demascus,and Baghdad and there comes Rabat creating  a new establishmement called ISADAC, a french word meaning ; institure of theatre of dramatic studies which is apparently  training, and urges to study and research in all areas of theater. It is created by decree No. 2.83.706 of 18 January 1985, under the Ministry of culture in Morocco.

One of its objectives is to train professional actors and introduce them to theatre and cinema world.yet,ironically its actors are lost in cafés of major towns in Morocco  just like Café Terrace in Rabat ; which is itself becoming a commercial café meeting .There are other places that actors and actresses usually meet and discuss the market of jobs just like La Ruche, Halinka, Triangle Rouge in Rabat,la comédie in Fès and café de la France in Casablanca .

According to Hicham El Wali and Said Ait Baja, recently interviewed in Al Oula TV,they state that the position of actors in Morocco is critically bad and it is getting worse, because first the jobs are findless and even if there is a job , excecutif producers pay them badly (see the famous 2M series called – AL Majdoub - in which Hicham EL Wali has worked in and appealled to tribunal   the producer himself  .The production company of Al Majdoub has declared its fraud and it can not really pay all actors . In the past, ISADAC was a seducing place for young comers .However now , it really becomes empty proscenium arch ; producing only unemployed actors,states Said Ait Baja .ISADAC achieved nearly 1000 adherents before and in 2012 only 350 which is a considerable decrease in number.


Still , girls in the world of theatre  namely in movies are confronting sexual abuse not denying that some of them accept the offer willingly just to get a part in a movie or theatre .Some students in ISADAC convey strange behaviours of ISADAC teachers as to ask them for sex ,but this fact is not  yet confirmed .



Either what Mahmoud Frites has recently  conveyed about the decline of Art in Morocco or the melancoly of actors already lost in pubs, expensive cafés and hotels ,states Khalid Didane in his recent play called – Hawlasa – Acting is  still a passion for many and Moroccan actors are going through painful moments only theatre and cinema-goers know this secret. In some way,Moroccan actor becomes more melancolic than Hamlet who confronts not only a « corrupt king » but too many nasty nature elements.




The ISADAC

Admission to the Higher Institute of Dramatic Art and Cultural Animation is done by competition open to candidates aged 17 to 23 years, holders of bachelor of secondary education or a recognized equivalent.
Students of  foreign nationals may be admitted, subject to availability, on the same terms.

Their applications must reach the direction of ISADAC through the competent department of the Ministry of Culture and Foreign Affairs of their countries

FONCTIONS
Institut Supérieur d'Art Dramatique et d'Animation Culturelle est une école nationale spécialisée dans la formation des cadres supérieurs dans les métiers du théâtre :
Formation de base
Interprétation et jeu : Théâtre, Télévision et cinéma
Formation en option
Mise en scène, dramaturgie et administration théâtrale
Formation de base   :
- Scénographie, décor et technique de la scène .
Formation en option  :
- Marionnettes, costumes, éclairage et son
Formation continue
Perfectionnement et spécialisation des professionnels des arts du spectacl

« Suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature. For anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure »
Shakespeare