好莱坞影视剧本精选_末世纪暴潮(Strange.Days)screenplay.doc

STRANGE DAYS Scriptment by James Cameron At the beginning of any writing project is the agonizing period in which nebulous ideas dance before the mind's eye like memories of a dream, and vaporous vague shapes take on human form and begin to answer to their names. Trying to will a world into existence. I circle around it, nibbling at the edges, writing notes about the social infrastructure and expounding to no one in particular about the themes of the thing. Then slowly a change happens. Without warning, it becomes easier to write a scene than to write notes about the scene. I start sticking words in the mouths of characters who are still mannequins, forcing them to move and to walk. Slowly their movements become more human. The curve inflects upward, the pace increases. The characters begin to say things in their own words. By the end of this period I'm writing ten pages a day. The last day becomes endless, often stretching round the clock to the following noon. The curve becomes almost vertical as the thing seems to come alive. I become a witness only, a court reporter getting it down as fast as I can. Lenny Nero was born in 1985 when I decided to write a film noir thriller taking place on New Year's Eve 1999. I was fascinated by the dramatic and thematic potentials of the millennium, and the idea of doomsday as a backdrop for the redemption of one individual. At that time I made a few notes, totaling less than five handwritten pages. I called it "The Magic Man," because Lenny can get you anything... like magic. I never got around to writing it, at least not that decade. Eight years of vague ideas, three months of intense pondering, four weeks of writing and a few days of jamming. I had gone up a hill and come down a mountain. Any scene that I couldn't crack right away, I skimmed over and used the novelistic treatment form to sort of mumble through. What you have is at once a kind of pathetic document; it is as long as a script, but messy and undisciplined, full o