Horror Movie Screenplays – 10 Steps To Writing A Horror Script
A horror movie has certain rules. If you break too many the audience will be disappointed.
This is a very short, no fluff, blueprint of how to write a horror script.
1. The Hook. Start with a bang. Step right into a suspense scene. (“Scream” opens with a terrifying sequence with Drew Barrymore on the phone with a killer)
2. The Flaw. Introduce your hero. Give him a flaw. Before you can put your hero in jeopardy we must care for him. We must want our hero to succeed. So make him human. (In “Signs” Mel Gibson plays a priest who has lost his faith after his wife died)
3. The Fear. A variant of The Flaw. The hero has a fear. Maybe a fear of heights, or claustrophobia. (In “Jaws” Roy Scheider has a fear of water. At the end he has to conquer his fear by going out onto the ocean to kill the shark)
4. No Escape. Have your hero at an isolated location where he can’t escape the horror. (Like the hotel in “The Shining”)
5. Foreplay. Tease the audience. Make them jump at scenes that appear scary — but turn out to be completely normal. (Like the cat jumping out of the closet) Give them some more foreplay before bringing in the real monster.
6. Evil Attacks. A couple of times during the middle of the script show how evil the monster can be — as it attacks its victims.
7. Investigation. The hero investigates, and finds out the truth behind the horror.
8. Showdown. The final confrontation. The hero has to face both his fear and the monster. The hero uses his brain, rather than muscles, to outsmart the monster. (At the end of “The Village” the blind girl tricks the monster to fall into the hole in the ground)
9. Aftermath. Everything’s back to the way it was from the beginning — but the hero has changed for the better or for the worse. (At the end of “Signs” Mel Gibson puts on his clerical collar again — he got his faith back)
10. Evil Lurks. We see evidence that the monster may return somewhere..somehow..in the future..(Almost all “Friday The 13′th”-movies end with Jason showing signs of returning for another sequel)
Go for it. Good luck!
Love Story [VHS]
 Strife-torn America wanted a meat-and-potatoes romance in the late ’60s, and the country embraced Erich Segal’s slim, generic-sounding novel in a big way. It did so again for the film adaptation in 1970, starring Ryan O’Neal as a law student who defies his rich and powerful father (Ray Milland) on every issue, including the former’s love for a music student (Ali MacGraw). The two marry, start life together…and then the Grim Reaper turns up at the door. Directed by Arthur Hiller (The In-Laws), the film ends up lacking the kind of stylistic boost that might have made it a must-see for the ages. But its faithfulness to the book’s uncomplicated and, yes, moving intentions is pretty solid. O’Neal is convincing as a nice guy who’s as bullheaded in his own way as his steely father (a nice job by Milland), and MacGraw has a way of getting under one’s skin. A viewer just has to try not laughing at the refrain, “Love means never having to say you’re sorry.” –Tom Keogh
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1970 LOVE STORY RYAN O'NEAL 11x14 Movie Lobby Card
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(out of 99 reviews)
Samuel L Jackson does Joe Dolce
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NEW DVD: FORMULA 51 Samuel L Jackson
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Dancing Cheek to Cheek – Fred Astaire and Ginger Rogers
Fred Astaire and Ginger Rogers dance in the 1935 RKO film ‘Top Hat’, music and lyrics by Irving Berlin. In this scene, Ginger’s friend Madge is trying to match Fred and Ginger romantically. Fred is trying to woo Ginger, who mistakenly thinks that he is married to Madge, hence her reluctance to dance with him, but she succumbs to his charm in the end. Their dance shows the fabulous artistry of both stars in the expression of the tenderness between a man and a woman. So many young people have commented favourably on this clip, expressing a longing for the romantic time of the 1930s. It was a hard time for many, the Great Depression. Films like this were a way for poor people to escape grim reality for a few hours inside the cinema, to catch a glimpse of the glamorous world of the rich and beautiful. Today people long to escape the mediocrity and awfulness of modern taste – violent blockbuster movies, unintelligible actors, loud pointless soundtracks (you could hardly call it music). Artistry and talent has given way to mediocrity and the cult of celebrity. Now is the time for young people to abandon crowded gigs and nightclubs where they prance aimlessly, waving their arms in the air, deafened by the noise. Go to an old fashioned ballroom dance, with a band that doesn’t rely on amplification and plays real tunes. There you may meet the person of your dreams, to hold in your arms and talk to. |
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Robin Williams and Billy Crystal dancin’ in Comic Relief
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Jason Voorhees on talk show
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Damon Condemns Palin
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Bullitt (Two-Disc Special Edition)
 His new assignment seems routine: protecting a star witness for an important trial. But before the night is out, the witness lies dying and cool, no-nonsense Detective Frank Bullitt (Steve McQueen) won’t rest until the shooters and the kingpin pulling their strings are nailed. From opening shot to closing shootout, Bullitt crackles with authenticity: San Francisco locations, crisp dialogue and to-the-letter police, hospital and morgue procedures. An Oscar winner for Best Film Editing (1968), this razor-edged thriller features one of cinema history’s most memorable car chases. Buckle up and brace for unbeatable action. DVD Features:Audio Commentary:Commentary by Director Peter YatesDocumentaries:The Cutting Edge: The Magic of Movie Editing Steve McQueen: The Essence of CoolFeaturette:Vintage Featurette — Bullitt: Steve McQueen’s Commitment to Reality Peter Yates’s 1968 cop drama has its existentialist pretensions, but there is something seductive about its strained seriousness and Steve McQueen’s intentionally stoic performance as a San Francisco police detective on the trail of a murderer. A couple of key action sequences boost the film’s stature, the most memorable of which is a vertiginous car chase that Yates almost approaches as a dance. Jacqueline Bisset provides window dressing as Bullitt’s girlfriend–worried about how much his job strips away his humanity–and Robert Vaughan is almost reptilian as an opportunistic politician. –Tom Keogh
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Steve McQueen Triumph Bonneville at Lemans 1970 Poster
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frank sinatra stranger in the night
Strangers in the night exchanging glances Wondring in the night What were the chances wed be sharing love Before the night was through. Something in your eyes was so inviting, Something in you smile was so exciting, Something in my heart, Told me I must have you. Strangers in the night, two lonely people We were strangers in the night Up to the moment When we said our first hello. Little did we know Love was just a glance away, A warm embracing dance away and – Ever since that night weve been together. Lovers at first sight, in love forever. It turned out so right, For strangers in the night. |
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