Producer selling music tracks online

Drehb?er write, pr?ntieren, sell. Drehb?er write, pr?ntieren, sell. The Ver?entlichung takes place also. Drehb?er write, pr?ntieren, sell choice of your topic and handling the characters one a Treatment or a Expos?chreibt zus?licher section: some scenes. The origin of your ideas meant, da?Sie your fantasy in addition energizes, itself to you in one of you determined way reveal, so da?Sie understands purposefully from it sch?en k?en. meant, your Tr?e and fantasies into completely determined words too. To visualize therefore authors also encouraged, too. To Tr?en go? f?einen author to the situation its to imagine itself into each particular of your figures. This does not succeed to many authors in satisfying mA?. They are able to schl?en in some the roles do however with others heavily in women do not imagine and turned around their Ego and its Ichgef? unterdr?en, into the Pers?ichkeit of their figures hineinf?en themselves and think and from the appropriate perspective write. That is a trick, which is erm?icht by an active fantasy the result of a long number of such cheats, which are carried out buchst?ich by hundreds of people m?en. Public is the result a flie?ndes, nat?iches. But it takes its exit with the film script, and the author the important difference between Realit?und truth on the one hand and to Glaubw?igkeit on the other hand and drehb?ern finds one an easily?rtriebene version of the Realit h?ig? gew?lich auto+biographic nature the real world to write, as them you appear, adhere you want to documentary films. It write, when drama or novel becomes meant, spectators or to exist for finding deep-going truths?r and the world, in which they live, the unreal be appeared plausible can. Topics are a product of their time and reflect Ver?erungen. Other again k?en even those. One the Beweggr?e, which drive authors to confront itself day f?Tag from new with the empty paper is the satisfaction, which they sch?en from the challenge, the society too ver?ern. A challenge, those from the Kreativit?erw?st, out. Position takes, exposes themselves the author gro?n to the danger to predict. like other people to that will react, which one. If you learn to understand your public that will affect your Kreativit?positiv and you during the writing. Means and ways to attain this Verst?nis are in I already said not to experiment are Zug?lichkeit of allergr?er importance, if you want to be successful this individualistischen &ldquo.Autorismus&rdquo. some outstanding literary works come out w?n. culturally are enough society should K?tler in addition are encouraged new ways to go &ndash. without thereby too. But I m?te your attention to something more banal. K?en you your success thereby affect, a da?Sie certain topic another. As you k?en first recognize, what will function. Projects fail h?ig, because the philosophy, which the authors gew?t, is either not good or f?den special author is suitable or however because the timing f?die idea is badly gew?t. Idea in the H?en of a good author a gr?re chance of success as a good idea in the H?en of a bad. Of it, as good or badly author and idea h?t off. Authors m?en long time with their ldeenwahl live take up it an idea and catch to write on, for a long time before are recognizable, da?es the correct decision were. Topics seem at the public and thus also with the film industry. If we regard two long-known and perhaps popular of category more exactly, the thriller and the horror film is &ldquo.Bedrohung&rdquo. recognized, da?die threat in the past of au?n came &ndash. it came from the distance (often of another planet) and seized from the Protagonisten possession under the Einflu??raus of successful mass-market authors such as Stephen King, the threat is n?rger?t. It lurks directly next door or even within the own home or. And it nearly always f?t completely harmlessly on: It k?te this One Night conditions its (. which is with the new Kinderm?hen in or that straight from the Gef?nis. It k?te even the nice, the good-looking its or friendly co-inhabitant in or even the respectable lawyer in its investigation away and determines, da?die victims mostly Wei? are and the middle class angeh?n. People, manipulativen and cruel Schicksalsschl?n. it is not the American family, which fails, but the American family is denounced in the pass left a film after the other one the juridical system. Police can help neither Michael Douglas nor Matthew Modine (threatened, to angeschossen and one locks up), nor nod Nolte in (a lawyer, that itself in its own loop. All victims take finally the law in. And all films end with Blutvergie?n, whereby those. All, giant ants and killer bees spoke our tiefverwurzeltsten?gste in the films of the f?ziger and sixties. Conjugal force and films such as Kramer against Kramer and a verh?nisvolle Aff? did not sch?ten from a current social explosiveness anybody probably likewise force themselves humans, thrillers or horror films. The people do it, because they want that. Hitchcock very probably wu?e, because they want to be suspended in the security of a dark cinema fear and fright. Successful authors play with the?gsten, hopes and Tr?en, which divide most humans. If you write Drehb?er, which ber?en a public, erh?n you thereby your chances. going you not of it out, da?Sie even the typical spectator are. It with the spectator the Gef? wake m?en, the happening of a kurzgeschichte FR? one took place usually, da?das Erz?te in the past. Television film develops history only, and what arouses our interest in the main figures, is a Gef? of Empathie or sympathy as well as a kind of Vorgef?, Anticipation of the best Scriptconsultants Europe defines anticipation such as anticipation forces the spectator to Mutma?ngen, because the liberty was given to the figures, on v?ig. Alternative, w?end foreseeableness of the spectator required to believe simply and without alternative add. Foster meant, when he said: &ldquo.?rrascht me with dem.&rdquo. A good film script we exactly does n?r with the public is still concerned, from demographic, psychological and physiological criteria. Only by uniting these perspectives, an author knows the probability erh?n, da?der spectator thinks and f?t, what he in a certain moment to think and f?en. the Proze?des creative unity, selecting, wor?r one. The F?gkeit to bind a public &ndash. directly, with which topic &ndash., it is up to a certain degree of the fact abh?ig to what extent the author understands his public a way, this Verst?nis to attain, is that, itself. Author from Drehb?ern to films as for example the incorruptible ones and the Marathon man as well as the author of the book Adventures into the screen trade (the am?nteste, if not even the best book, determines?r the letter of Drehb?ern f? Cinema verfa? became. Expenditure: The Hollywood Gesch?), encourages authors to watch a film several times in consequence. They a gew?licher cinema spectator, pay f?Ihren seat and the Popcorn, around itself into another world shift too. At the end of the film, if the curtain f?t, you should remain sitting according to Goldman and itself the film equivalent still times. This time you pay attention to it, like the public the film. With the third conception you concentrate ausschlie?ich on the whole pallet of human emotions, which are reflected on the faces, perhaps with the one more. This emotional stimulation is it, wof? you did not show your Gef?e perhaps as openly, perhaps because you concentrated on it, as the film. There is a form of arrogance, many humans within the film industry bef?t. own public gegen?r?rlegen to f?en &ndash. That is one the Gr?e, why so many Drehb?er fail: The authors have the wire to their to manufacture set some knowledge of the mechanisms of human emotions ahead (see also the chapter?r to psychology and physiology of Gef?en) as well as the creative process, that that. If you cry with the emotional H?punkt of a film, learn completely intuitively to recognize, what arrives in all probability at a public. Their instincts f?Figuren and actions developed, verf?n you?r a rich vein, from that you sch?en. most important point are that, an emotional reaction to be obtained. They the spectator dar?r outside still intellectually address. spectators k?en on different levels react, if they watch in the cinema or television a film. Their relationship with your public bewu?. It, the public on the three levels &ndash. Belly, heart and head &ndash. (these three levels designation of Jon Boorstin in its original book The Hollywood Eye as viszerale level, emotional level and intellectual level first draft to have written, bl?ern it to? and pr?n it each individual scene regarding these levels more still: pr?n it, as you wrote the scenes: to break in leave themselves, around the eye to bind with go? ?ern you the scenes and bring you more to it, da?die music in the film m?icherweise more importantly its. Music, hei? it, goes directly into the belly, without detour?r the intellect and the Mind proves, da?Musik one?raus important form of communication is free of doubts ranks it into the Kreativit?palette of the author it a basic role into B?ern?r the film script letter or in seminars?r the film script letter daf? da?man B?er reads and seminars visited. Practically each course f?kreatives letter teaches certain Grunds?e and requirements, f?eine history. For figure mu?im center of history stand mu?mit this figure f?en and with it do not identify themselves (that is not the case, the author the spectator on emotional level will not reach). Main figure mu?etwas exhibit, that one mediates visually (it is not enough to be, da?die figure better humans wants &ndash. it mu?deutlich visibly its), and it mu? Without conflicts no emotions k?en. Main figure mu?zu other interesting figures in relationship. The B?wicht mu?nicht only gef?lich. Nebenfiguren of mu?es problems likewise give, those to the main story with einflie?n, so da?im Schlu?kt all Str?e together up gel? do not become k?en. everything is new you, but you w?n it?rrascht, how often these most fundamental elements in Drehb?ern are missing, thus all these factors before eyes to even hold itself. Elaboration of the action, which development of complex and interesting figures as well as spritziger and?rraschender dialogues should an author try to be original. In our B? h?t a Cartoon at the wall. Author says to his Dramaturgen: &ldquo.Sie find, that are heavy. Try nevertheless times to write it with difficulty, daf?zu ensure, da?ein cinema or television film at the public arrive, da?die emotions to be addressed. , da?es between history is to be considered actually and the kind, how you erz?en her, a difference gives. &ldquo.Zug?lichkeit&rdquo. &ldquo.Glaubw?igkeit&rdquo. one of the most important characteristics which can be aimed at is which St? or you write, produce whatever novel or convert as a director, you m?en daf?sorgen, da?das public or the readers to the world believe, which you create. (it is not so important, da?Sie even to it believes. Their public to?rzeugen is the gr?e. ?r dramas: &ldquo.Eine plausible Unm?ichkeit is one. Truth, but of Glaubw?igkeit. Kreativit?drehen itself h?ig around the fact, da?wirklich original films quite rarely and D? ges?sind. A category film becomes often after the Ausma?seiner deviations from. One can say thus, da?Kreativit?von. concerned at the question, whether a film is art or handicraft, culture. A successful book within a certain category requires a mixture from discipline, fantasy and. It may not be particularly original, but if it has success, it is probably qualitatively high-quality determined category write meant, the rules of this special. And it means itself, bewu? to make, da?die fans of this category the paying public &ndash. the category m?icherweise better know than you and it them also. Bring in own ideas and?derungen, but then only if you know exactly, what you do and why they said: &ldquo.Es is unklug to break the rules it is, one wei? as one it obeys. TV serials geh?n a category on: to write the drama perhaps more simply, because it detailed guidelines. For example the figures already exist, just as the locations and the world, in which history does not play anything hinzuf?n, your script will be flat and hardly a further order after itself will pull. Dar?r outside are not also the Egos of other humans in &ldquo.Bibel&rdquo. a series complicated and into the defaults, you perhaps also on the way taking you?derungen only over?derns. Make only then?derungsvorschl?, if. And you speak each deviation also. The concept of the category contains the M?ichkeit. We know, da?das public more from the same commodity to have want, and it is much enticing to let after one gro?n success follow an equivalent product. From this also the continuous trend Hollywoods results. if you a second box Cola buys. taste as in the case of the first time your public is, knows you, what expects it also, how her the spectators?rraschen k?en. The public can react to TV serials much ungn?g, if in loved Sitcoms or DAILY Soaps too gro? ?derungen. When Murphy Brown got into the American Sitcom of the same name a baby, the ratingses sank. The public wanted Murphy zickig, funny and hard &ndash. everything else as m?erliche attributes the Bed?nis after repetition resembling experiences folgenderma?n described itself: &ldquo.Die humans are own, which. They do not want with unusual situations. It is as with a small child, who says: &lsquo.Erz? me still times the history of the three B?n&rsquo. to somewhat really create in an established category property. Probably it is just as difficult, as itself somewhat real. Certainly it is easier to judge category B?er because here rather the objective comparison m?ich. If it itself daf?entscheiden to write Drehb?er f?spezielle of category don't you go?rheblich with the existing or given series and/or established authors, which let down themselves, to write some consequences of a DAILY Soap supply usually d?tige Drehb?er. me to? to the problem elit?r authors da?Sie, because you are sch?erisch t?g, their. The danger of the creative Egotrips is. They need to?rstehen your Ego, because it helps you to place itself to the empty side again and again bad and hard times to and refusal &ndash. or the Egos of. The choice of your topic and handling with thus your Ego with the choice of the material or the action play. You should only write?r things?r you to answer. That has at first sight gro? Advantages. however lose you not the necessity from the eyes to?rzeugen gro?s a public of your figures and your history even if these fictitious elements are based on material experiences beschlie?n to write?r something determining or w?end their sources of inspiration through forests place you, you itself the following two questions: Why I write the most important questions, which an author places itself?rhaupt. It is easier to know the answer to it than it fairly. Franc Daniel, one of the most renowned teachers in the art of the film script letter, asked a?liche question to a course, in which I had participated,: &ldquo.Wenn a public in a dark cinema sits and on the canvas looks, what sees es.&rdquo. The answer, which seemed completely logical, after he had given it, read, da?der spectator to a problem in a film script works themselves, finds I it n?lich, it with the help of the model of the &ldquo.ewigen Dreiecks&rdquo. too the author should to his spectator or reader maintains this model at the basis to put, determines we, da?vieles, that it hapert with Drehb?ern and manuscripts, which we get submitted, whereupon zur?zuf?en is, da?die authors more on the relationship with its figures concentrates. But it is not enough, if figures only f?den author stimmig. The figures are only one vehicle, in order to reach the public. So that this succeeds, mu?das script the public ber?en. In order to shift your public in fear and fright, you become supposed or several of your figures in fear and fright. But that is not the ultimative goal appears obvious, but it is probably at most arises this error with inexperienced authors. Their Selbsteinsch?ung plays one gro? Role with your way of writing, perhaps even with your topic choice not?r your own St?en and Schw?en?gste and Phobien in the clear is, from where you are to then know, whether you do not regenerate something f?sich, instead of it your public to erm?ichen, on the experience to participate m?en able to be to regard their work from the distance. Agents enclosed, should be able judging objectively and &ldquo.repr?ntativ&rdquo. to react, even if history and script do not correspond to their pers?ichen taste or interest at all. How can one, after one decided f?eine idea and not wei? whether she will please a broad public, this going by to develop, gets da?sie gen?nd depth, the reader or spectator. If you sketch your history roughly, concentrate on the topic and the Schl?elfiguren, and ask yourselves you you f?diese figures to invent want to ask you itself, how much from background history you enth?en m?en, thus your figures not only plausibly, but dar?r. Enth?en you too little, become the figures appear oberfl?lich enth?en you too much, suffer the Flu?der action. Figures can very positively affect the reading or Seherlebnis, if it does not brake the speed of the action successful films to study and from its structure and the handicraft, which stands behind its implementation, a way can to learn be to find a topic or a Sujet f?ein film script. If you can be affected too much of a successful film, it can do you in addition, in your tendency. hei?, da?Sie at least dar?r in the picture are, which. That means, da?Sie in a the position it is to recognize whether that, that you work is really au?rgew?lich &ndash. it is not enough n?ich, if the material seems only to you originally verh?nisvolle Aff?, or more exactly the Schlu? , but f?das public was foreseeable world-wide (and also f?mich) therefore not less satisfying. If it concerns, a Sujet to w?en, gives it not much, what not already tries out. Even if you are so far not gestolpert also?r certain story, idea or?r a special structure of a history, is the probability gro? da?schon somebody else sometime the same idea had. Rely thus not too much on the euphoria, into which you purge, if you believe the wheel to have again invented. Problem is not only, da?Sie itself perhaps too much abandoned on it, da?die apparent Originalit?das book tr?, if da?Sie of the kind separate, how you erz?en history, gen?nd attention if a history not particularly originally are, if you only succeed, they do not give to be erz?en in such a way, the da?sie fantasy of that different are, to it, da?das multiplication table of the Geschichtenerz?ens is f?t often vernachl?igt us with the accompanying words to be sent: &ldquo.Ich to me somewhat occur let, da?v?ig different is than &rdquo., are usually weak and do not rest themselves on the Lorbeeren of the heterogeneity one out &ndash. whereby it tats?lich often at all so different are improbable, da?r?blickend many authors than. This should not be a criticism at those, which are not original. Tats?lich exists only smaller or no difference between what original authors earn and which, which the others earn, there itself the most successful films and B?er not necessarily through. to holding the industry to continuations, which the Entscheidungstr?rn gro?n of the studios as safe. Tats?lich is the weight, which is attached to original materials, such kind, da?das Studiosystem not only around the verh?nism?ge unattainableness of the Originalit?wei? separate dar?r outside a new form of the film script development created &ndash. the new filming of ausl?ischen films. Money put into the new filming by TV serials successfully several series into the states sells. US DO part became universe into the Family (from Alf became nice. Downstairs became the Bacon Hill settled now in Boston. The British classical author Steptoe and Son was converted into the American series of sand Fords and Son American series of Whos the boss. Upper hand, and from golden the Girls the British in addition, in Holland and other L?ern, the new filming of existing series to gro?m extent claimant to likewise regard this than a safe and verh?nism?g. Times, bad times is for example an adaptation of the Australian format Good Times, bath Times. on the continent states, more da?einer the Gr?e f?die new filming of existing series that is, da?sie simply?r gen?nd experienced authors does not verf?en, over by transmission hours on the television of strange TV formats to be taken, those also native authors h?en creates k?en. Some from them f?die adaptation of the Originaldrehb?er assigned &ndash. to write which even as a consequence f?eine series already existing, is not the same, as a v?ig new series from the baptism too does the producer without dozens of Drehb?ern bought abroad, because action and figures a v?ig new. Tats?lich ends this often with it, there? general not much, if their Drehb?er in the context of one. That is one the Gr?e, why an author should try to keep with its own idea the adaptation rights or to secure themselves at least a respectable portion of the Eink?ten from the sales of the idea concrete numbers to call, which concerns the sums, the transmitters. Bez?ich of these mysterious sums are all much. But it is m?ich, with Neuverfilmungsvertr?n one &ldquo.Staffelung&rdquo. to agree, so there? if the new version is successful, the Eink?er f?sp?re consequences a gr?ren amount pays new series, success has and than one season to keep more l?er, makes themselves it improbably, da?neue authors the chance gotten, own original ideas f?Dauerserien. thus to do, in order to recognize trends and its chances too erh?n to find a topic which arouse the interest of a broad public. First one should hold before eyes, da?die form is just as important as contents. If you put yourselves then the question. at the risk to work a little originally k?ten in addition environment and?ologie, the &ldquo.Neue Mann&rdquo., Political Correctness, AIDS and virtual Realit?geh?n, in order to call only a few the augenf?igsten. Newspapers or magazines topics like these to be treated, should you these articles as potential inspiration f?eine. But that will au?r you, f?hte I, still thousands others to do. But after you decided itself to treat a current or less current topic and your main figures to have outlined, as you these do not k?en in a way convert, which arrives at the public finds to represent the topic interesting forget you it are enough to have an idea also not if them really. Ideas are worthlessly, as long as nobody is there, them too. If we are terribly written, send without being asked Drehb?er or manuscripts dispatched gotten, which contain a gro?rtige idea, but we them by return of post to?. Much rather lausige ideas, however masterfully converted rarely, wake the readiness, to try as an author less different words, one can not judge, a film script will be how good, if only the idea is erl?ert which others by this or that idea to hold gro?rtige idea f?einen Film&rdquo. goes? to the standard statements, which we get again and again too h?n. Clients acts, whose work and F?gkeiten are familiar me, can I perhaps einsch?en whether it a good film script. But even then is it seems difficult well a certain author to fit, and then the finished product is nevertheless a Entt?chung, w?end an idea, which does not seem so at all to fit another, as said themselves, pays a public f?Erlebnisse, which take place au?rhalb its own direct life. to escape, one is the Gr?e, voyeur another. If you do not understand your public, your creative energy will not go probably into emptiness, there it a correct focus has unerm?ich in its tendency to manipulate the public. And it proceeded therein?raus creatively. Millions of humans the M?ichkeit to experience Gef?e &ndash. usually fear &ndash., f?die them were ready to only emotion, which one can to have a feeling for, inspiring, enriching characteristics become raising to successful films assigned, as h?ig also the optimistic view to the Schlu? that typically is f? Emotions so perfectly represented, because turned out, da?es money brings, strong Gef?e. And this should not be evaluated negatively. it furnished, da?Hollywood the proof f?den desire of the public for Happy ending. F?den Psychothriller a verh?nisvolle Aff? became three different Schlu?equenzen. In that one, which was used schlie?ich, the unfaithful married man learned his lesson, leaves without the price f?seine. unmarried Mrs. their life this Schlu?zu bef?orten, although the Produzentin Sherry Lansing wanted to turn urspr?lich a film, in that that. Even the transmitter, which realized the television film?r the massacre on David Koreshs Sektengel?e in Waco, Texas, attached importance to an optimistic. It seems to be simply like that, da?die spectators of the depressing recession and the force on the Stra?n. Happy Ends are thus obviously tats?lich what the spectator wants into most F?en w?cht &ndash., are emotional experiences, and the list of very successful films (and TV serials &ndash. for example Roseanne, Cheers or Thirtysomething) without Happy ending is not long as for example Titanic heads for obvious Happy ending, and if one the best films of the past 30 or 40 years regards, is not also with numerous classical authors. Of hoist blows, Fl?tige meeting, Casablanca, Bonnie and Clyde, two bandits, if night will be into Manhattan or does watch television, we that among other things also, in order to investigate us and our life: &ldquo.Was w?, if. &ldquo.Wie w?e I in this situation feels. Expectation is an indispensable component of the spectator attitude. Ian Katz referred in an article in the Guardian to it, da?die action in American films up to a certain degree is foreseeable. One wei?genau, which one has to expect is the summer the season &lsquo.Wohlf?filme&rsquo. In the summer 1993 millions of humans the thumbs dr?ten, da?Meg Ryan and Tom Hanks after their anf?lich Platonic relationship in sleepless in Seattle nevertheless still meet w?en. In this summer (1994) again Hanks stood in the center, this time in. The moral of these films is the same: love and nice humans widerf?t fr?r or sp?r property its observations, da?der success of these films &ldquo.eine profound longing after simple, edifying parabolas in a complex, morally confusing world reflect. ] complicates however less: both films are amusing, to also from the British hit four weddings and a death. One k?te the film regarding its statement to loyalty and love in the Neunzigern analyzes is it a very funny film script, which was allegedly seventeen times rewritten, before it was regarded as suitably, films enough wrongly anpacken, knows Studiobosse very exactly, what they want somewhat very rare &ndash. are able perfect a dose longing too. But it is more easily and less risky, itself to in. The true bosses are nevertheless in Hollywood not the Studiobosse, but the shareholders. in this Gesch? turns to smear or build up again the Realit?neu to create it by the own world view to use the handicraft in order to bring the spectator so far, more da?er the new version of the Realit?akzeptiert. But the public will not arrive at a new insight, if one does not manipulate it, if one not information einf?, their meaning not equivalent obviously is, those perhaps even. Spectator d?ern, da?Schwarz tats?lich Wei?ist, and this realization in addition f?en, da?er satisfaction sch?t from what you wrote. it well writes, does not erf?t the author its part of the contract alone f?t however always to the sales. Film script, corresponds the script becomes only lively what it needs, jumps themselves not completely however the spark?r, likes those. From this an order can result. Standard complaint of editors, professional readers and producers reads going by, da?sie never enough good material finds tries to reach, da?jedes script or Treatment. History, which you erz?en, and they repr?ntiert states probably submits more Calling Card script than otherwise. Here it concerns Drehb?er, which are never filmed m?icherweise, but the F?gkeiten of an author within the structure of a well-known format points a producer impressed, to the each week out a dozen or 20 new authors pr?, mu?sie to be already very good should also never be content you with what you carried out. They should strive always to improve your work further. Hope from gro?n the demand at good Drehb?ern. Don't you interpret each refusal as proof daf? da?nur you it better know than others. Gef?t, which you wrote, they does not accept person the person concerned erred n?sten partners and, still more importantly, turns you. If two or several readers put the same negative reaction to the day, is the probability gro? da?die refusal begr?et. the Professionalit?als creative author, you learn and. If you are able to develop and articulate an idea, this yet much does not say dar?r. Therefore is the correct strategy know, like the system function and who f?Sie importantly and. If you have an idea f?eine history, but in the Filmgesch? nobody, k?en you know with this idea or a dummy run reach not much make yourselves it paid, if one provides contacts kn?t and opportunity, people from the Gesch? to become acquainted with. Also you become the difference between the kind, how stories are erz?t, and stories themselves to recognize. Stories and ideas often do not come from people, those. Such people give sometimes outstanding unquestionably very creatively, although duel, wei? Shark, uncanny meeting of the third kind, E. Au?rirdi or even Jurassic park not evenly. Stories are established. Kreativit?liegt in the kind, how it erz?t stories, and in the Ausma? in which it makes it zug?lich to provide so da?sie world-wide millions of humans fallen gen?nd for spectators an impressing experience. Authors m?en in the situation its, this f?jeden particular. Script Doctor Pascal Lonhay has this Proze?wie follows described: History should f?en the spectator in such a way by an event, more da?er it along-feels can, as w? it thereby, a witness or into the action involves. so defined, it is not amazing, da?es is difficult. thereby a public does not react, up to physiological reactions, requires it gro?r Sensibilit? most Drehb?er is not very good. in a newspaper article with the title False start da?der fall of the British film industry on bad Drehb?er zur?zuf?en are unsuccessful British films up and describe them as follows: The Macher of such films does not seem to have placed itself the crucial question: If we become the figures m?n and what they experience, along-feel. Again and again the Schl?elpersonen of history is so nachl?ig pr?ntiert and its emotional side is so oberfl?lich treated, da?das public itself unm?ich into it. The authors to many new British films seem to be close to their Protagonisten not much and hold to the erring faith, da?die cleveren intellectual connections, which them between the scenes kn?en or which were possibly partial message, which they believed to verk?en, a public in the circumstance, da?der film, which concerns power on the set, traditionally always rather the medium of the director. Hollywood seems in the meantime a little more bent to recognize da?ein good film script of the Schl?el to success is (rather as the film script author), and some Drehb?er written without order swindle-exciting sums from three to four million dollar brought in (Joe Eszterhas&rsquo. Basic Instinct and Shane Blacks T?iche Christmas). the Kreativit?liegt therein, da?der Schaffensproze? The Gef?, to be creative, has. To purge Selbstgef?igkeit, and the more heavily. as one is to k?en merciless?ern or, if each word, which one brought to paper, objectively its k?en and nobody has, which examines your work in your place objectively, k?te your Kreativit?mehr on fancy to be based, when likes to you. And which is, if you put all your F?gkeiten into the film script and it is good not yet enough can going by help, da?er distance between the author and. Feedback is however gew?lich the best can the kind, as you go with itself into the court and other one is too &ldquo.Das film script fantastically to have, is an enormous improvement in the comparison to vorherigen.&rdquo. But which does not mean this praise really necessarily, da?das film script is now really good, but. Completely reliably this statement does not mean, da?es no more steigerungsf?g w?. M?icherweise is the film script now the best, which these m?ich to bef?gen this author it still better too. If I f? different versions with an author, can I went through him more m?en probably also not now we for a producer to perhaps look, a further reader or a professional Script Consultant. There are producers, who we trust, on their judgement we h?n, but an author will be open f?noch more Ratschl? and. And as one is to know whether further?derungen clay/tone or texture of the script does not harm, even if it the action. Wisdom, which reads: does not &ldquo.Schreiben is something, everyone, requires many more, than only the correct words to paper too. Dar?r in the clear to be, go yourself? to the things, the one professional author of an amateur. to sell, is, to make easy for the K?er the decision. Finished film script to buy meant f?einen producer only a small risk, and therefore it may appear enticing an author, who wants to create the break-through, a film script without. A finished film script can facilitate the decision for the producer or the transmitter nat?ich always simply and durchf?bar, without financial Unterst?ung. As you smooth the way to the decision, your film script for producers and transmitters to buy nevertheless. They itself way there, it well to write this questions is, good Treatment to write only to that extent n?lich, because you secure yourselves on the basis of a Treatments an order for film script k?en, but also, because them, if you prepared history sorgf?ig, before you begin with the actual letter, a m?icherweise better film script will write au?rdem the best way to experience something?r your project before you pitchen it (?r the meaning of this. Or you are in the situation, pitchen to m?en, over only a Treatment f?dieses project. And the delivery of a?rzeugenden Treatments is then the only way to get the order for film script. F?gkeiten &ndash. writing Treatments and Pitchen &ndash. Most authors seem to preserve a dislike against the preparation from Treatments to da?sie believe, in it to be bad outside have it also somewhat with the danger of the &ldquo.Treatment Falle&rdquo. If authors receive the order to write a film script first however a Treatment to deliver, stolpern they are h?ig already?r this first H?e. producer, who a book adaptation w?chen or who author a kind action strand supply with, want to see, like the author those. In addition the producer a Treatment ben?gt, and so long he with this stage of the script development is not content, he will will not be, further money into that. The producer ausgew?t you wom?ich due to preceding Drehb?er of you. In other words, not your F?gkeit to write Treatments brought in the order for you, but your talent in. But if you are not able, a good Treatment now to write, perhaps never get the chance to write the film script lie in it, da?es f?ein Treatment usually at time and. Gotten f?das gew?lich 10 to 20 per cent of the entire film script fee and your Treatment to become to want fair, it takes authors to Treatment up importantly more l?er than 20 per cent the time, you f?das the whole. The Treatment can be up to 60 or 70 per cent manipulative sales documents, and each author should in that. We had some customers, who are so outstanding in the letter of Treatments, written da?sie these these &ldquo.anderen&rdquo. haupts?lich producers, who try, to apply money in order the actual Drehb?er then again from other authors. it two very different forms of the Pr?ntation film script project, the Treatment and the Expos?umfa? no more than f? until seven sides and gives a first view of the action and the figures all parts of the main action really does not ausgef?t, and also not all Nebenhandlungen and figures umfa? usually ten to 20 sides received or a contract signed, play it no role, their Treatment is how long, but the Lekt? a sales document from 40 to 60 sides &ndash. in Prosa &ndash. requires more time than a finished film script, and only few producers or editors become of such long-windedness. As you k?en thus reliably its, da?Ihr Treatment the conceptions of the producer, with whom you have to do it straight, correspond m?en with the producer to talk, m?ichst. In the following you find a list of the things, which should know or inquire you. The list is not vollst?ig, and the sequence of the individual aufgef?ten points is career/development of the producer from which is its St?en and. Director or becomes in all probability a director. (if you a clear answer on that gotten, do not ask you for a list of the directors, who before-float the producer. (you should know that, before you begin to write, even if them yet so much about budgets to understand and to you the sum will say the producer still different not much in the script development or production taken part, and if, who are the investors, and which you expect itself from the film. If there are CO producers, as of them see. (if it around ausl?ische investors acts, k?ten themselves their conceptions fundamentally of that. Producer already an idea, which concerns occupation. Occupation usually at a sp?ren time is only certain, is n?lich it to already have a ungef?e conception of it who plays the different roles k?te. helps, the figures a Identit?zu lends. Producer as a target group cinema or television film f?den, and if the latter is the case, which transmitting time the film becomes. (if you notion do not have, to which transmitting time the film is to be demonstrated, as you are to then have a conception of your public other cinema or television films can the producer the planned. Here mu?man abridge themselves, for example in the style of &ldquo.Eine mixture from the knife and the basic Instinct, only less aufwendig&rdquo. gew?lich more?r expectations of the producer than?r the film, which you write m?ten, but it can be an important note to it, which kind acts of Treatment with the project around an adaptation, asks you, on which Handlungsstr?e of the book, which figures and relations you are to concentrate and omit which you. Question with a expressionless view is acknowledged and the answer reads: &ldquo.Sie are daf?bezahlt, that too entscheiden&rdquo., ask you the producers, what particularly pleased him at the book or why he believes, a da?es good film to deliver. If you do not keep the book f?verfilmbar, I suggest to you, the da?Sie difficult, but important F?gkeit to learn, no to say your career to be not f?erlich really urgently need, try you, to make a good film from the material even if the chances stand badly, da?es. should you straight again get, which are the main figure, also to know, by whose point of view from history is erz?t. If you are in disagreement itself in this point with the producer, discuss this crucial question, to you to an agreement. If you do not shrink from yourselves before it three questions clear answers have, your entrance to your Treatment or film script cannot be so much wrong. Producer the author a very clear conception its that it wants. That is actually well the problem is only, da?Ihnen less. In other words: They k?ten to be fired, if you no more or less accurately kl?n you likewise to help like with the producer together and will leave itself to the producer you itself plentifully time (perhaps with a common meal), around these points. Then you send yourselves the producer a letter, in which they list all points?r you verst?igt. Since you should always write a note pad and a something with such Gespr?en with itself have, the letter d?te. By seizing the initiative, provide firmer conditions them attain yourselves gr?re control and become than professional author. CO author and/or an agent have, who were not present during the discussion, send you also to them a copy of the letter. Note &ldquo.cc&rdquo. (carbon CoPy, copy) down on the letter, in order to set for the producers of it in knowledge this way have you f?den case, da?etwas go wrong (and happens h?ig), a written proof?r what to write you were assigned its, in order to get the fee, even if the project given up Treatments or Drehb?er. do not only require dar?r outside an author, who can think selbst?ig and articulate itself and who is able, a problem within only few sides the paper. That means, paper da?die sides not f?sich alone?rzeugend its m?en. Sometimes your words on the paper are the only one, the f?Sie. With film script discussions are the producer and that. Anschlie?nd are other at the row to commentate the individual points already again a Serienm?ergeschichte. the latter in?ypten playing film were a flop, we should die.&rdquo. Probably they did not read your affectionately prepared Treatment at all, and they give nevertheless to be glaring and oberfl?liche judgements starting from m?en you a genuine player, therefore you m?en more know than only, what and how you write m?ten. Summaries or roughly outlined action defaults k?en you much time and work save. For knowledge other one only once, as well you write, the chances do not stand very well, da?man their summary of your idea fairly will can, it will be perhaps necessary to finish the whole film script. finding you out, what you best. Don't you forget, there? if the urspr?liche idea is from you and the producer did not buy it, it always. But that becomes, as nearly everything determines bez?ich your rights and Honoraranspr?e, from the contract, that. Therefore it is also so important not to sign in an intoxication of gratitude everything blindly only because one requested you to write something and you also still to money. You are gesch?st?tig. Professional one and seri? Producers become you daf? is gesch?st?tig, but you m?en yourselves decide, what is more important to you: Its or money making. Both, by having a successful work f?das Treatment a part of the agreed upon fee receive, succeeds to some authors however not the whole sum and the contract corresponds in gro?n and the whole standard. And no more money comes in nevertheless, although it is entitled to you. Obviously did not please producers, what you k?en to have delivered. come, you reminders to send and call again and again. Nevertheless m?icherweise in the long run only that remains for you. It cannot be, da?Sie your idea or your Treatment to someone else sells to k?en, before you zur?gezahlt the producer its money, although it never paid the fee vollst?ig. If the Treatment is based on a book or the idea third, do you m?en yourselves still da?Sie much M? make, not to be daf?bezahlt and last end with empty H?en not stand there. Their Treatment rejects, but is inspired by your idea, m?en you bef?hten, more da?er another author looks for itself, who writes him an appropriate film script. around your idea, you are m?icherweise by the law. As one a Treatment or a Expos?xpos??einen film should erf?en several functions. It serves once for it, a producer or a transmitter for?rzeugen to acquire the rights at the available work. A sorgf?ig prepared Pr?ntation, which wakes confidence with the reader as well as?erzeugung, da?der author its Protagonisten and the action in the grasp has, erh? the less important function consists of it, da?das Treatment/Expos?em author clearly helps, its thoughts too. With a Treatment in the hand the author can more founded with the editor, agent or producer dar?r. sp?r mu?man itself to?ern, which one writes m?te, and if one is well prepared, the chances stand well, da?man for time saved and a very n?liches feedback of professionals from the industry get themselves this Gr?en are the sorgf?ige preparation book -. a further reason to use apparently unverh?nism?g much time on the Treatment fixed its to sell your idea outside a good contract and a successful film aim at. Also your producer (that the rights at the Treatment to have in the meantime acquired should) will use the Treatment to apply in the apron of the turning work the necessary funds. Contract does not only become the H which can be expected? Their n?sten conclusion affect, but m?icherweise also the extent of time, personnel and money, that the producers into your project. Do f?die rights at what you write, hum are paid, the contracting parties will more h?er work, in order to justify and the money again get this investment spend often zus?liche funds, in order to make sure, there? Danger, you, after first a fee was paid by Hollywood Ausma?n f?die rights at your film script, da?Autoren the S?enbock make to victims of?rsteigerten expectations of an editor or a producer become da?man, if the producer the financial means f?die. Agent more easily than f?die authors themselves to take to Einflu?auf the prices f?Treatments or Drehb?er because they have better Vergleichsm?ichkeiten. Around market prices into negotiations go to Insider knowledge, been enough to you. I come sp?r still on it to?, as you acquire yourselves this knowledge k?en. write, you should always hold yourselves the most important of all questions before eyes: Why humans read, watch television or to go into the cinema. If you know the answer on that, that is the first step there. knows, wor?r you writes knows, who your figures are know, you write f?welche target group particularly importantly, if them a film script in a certain. You are with the rules of this category likewise trust like the fans schlie?ich, da?Sie it understand to pr?ntieren an editor or a producer the analysis of a history which you did not write yet, and which?rzeugt in a way, which it from your F?gkeiten, the project in a book or a film script to convert. The people, with which you have to do it, should want to buy, what it to write, because it will be helpful also to its own career and its enterprises to it to be reached, mu?ein Treatment structured sorgf?ig. I w?e you suggest to arrange it into four sections. This arrangement and also the arrangement of the individual sections possess their own logic, although it does not admit diesbez?ich firm rules and also different M?ichkeiten, a Treatment. This method however has itself with many a short Pr?ntation of the film to concern, in the style of the. Words, should not try you to abandon whole history but only the verkaufstr?tigsten points. They the Schl?elfigur in the context of the category present. Representation (between f? and 20 lines long) to serve is to wake the interest of the reader should you itself forwards. Summary or the vollst?ige Treatment, which the potential K?er will hopefully read sp?r, more mu?der scarce, purely salesoriented Pr?ntation supplied later. Differently ausgedr?t, you state not, which, that you work, is best dear history since of hoist blown, if dear history not at all in the center of your book. Kind of writing this purely salesoriented short Pr?ntation consists of, the Pr?sse describing the main figure and the dramatic H?punkt of the book hopefully the curiosity of the reader on that wakes, which still happen. One knows as &ldquo.Appetith?chen&rdquo. also one one gro?n bookshop to read flap texts (particularly in the best-seller department), or goes you into gro?s a cinema and studying you the posters. Ask yourselves, why the film will not differently angepriesen particularly so and. If you nothing really einf?t property, w?en that, you to best still gef?t and f?n you, if n?g, in parentheses the note &ldquo.Arbeitstitel&rdquo. The title should wake the desire immediately with the reader, more. With the choice of a title, which addresses also someone, that not the smallest?r contents of your book wei? your knowledge of history can hinderlich. Power of the titles only then sense, if one knows whole history, it is not reliably the best choice of the most important figures does not aufzuf?en is in Germany. If you judge it however f?sinnvoll, should you them in this section before the actual Treatment in no more as than f? to ten lines per figure. It is important to emphasize clearly who the main figure is and which motivates it. If you your main figure yet, have you do not know apology exactly a fundamental problem. Also goals and Schw?en of the main figure as well as their transformation potential k?en you erw?en. three important figures give, make you clearly in addition, clearly recognizable this its, by whose eyes you history. In ensemble films, in which several figures take a equal action area (see American Graffiti, Peter's Friends), become less strictly. But even in such stories or two the short biographies become not too many elements of history. They the reader psychological and pers?iche views of the figures and describe you in graphic kind, like them look (for example more gro?oder small, meters someone, which you know very well, do not &ldquo.einen and write you to ten lines?r. That is a good method to work realistically. Author k?te it also quite helpfully its, if it an f? - until ten-lateral biography?r write each of your figures, in order to let become alive they. Information however not the reader of your Treatments up, is, this asks for more detailed information or buys that. In this case your notes become as pleasant are f? Lines gew?lich sufficiently many different persons umfa?, do not m?en each particular in your Treatment n?r describe. Hollywood producer is once with a Gespr? with an author said: do not &ldquo.Verwirren me mit.&rdquo. By being not too specific with the biographies of your figures, permit the reader its fantasy. Too many details brake the reader. Write from Treatments rough outlines. If the reader gets straight gen?nd details supplied, will it the remainder einf?n. the fantasy of the reader the picture understands will be, which you outlined with words, the more?rzeugender the general impression &ndash. and is the more probably it, da?der reader the action like a film before its mental eye will run off sees. If your script is based on a true occurence, divide your sources with pers?ichen experience, erkl?n you, why them dar?r. In other words, you make clear, why a certain project is f?Sie something special and why you are particularly suitable f?das project pers?ichen, actual or other background divide, you. That will help it, the purchase between history. And f?das picture to create. Treatment in the sequence into four sections, suggested above, partition the framework, will have stored the reader, if it arrives at the actual action, already much background informations. Thus the action will make very probably a gr?ren impression on it, as it otherwise the case w?. History should narrativen, flie?nden in, relative a so-called &ldquo.Bildertreatment&rdquo. it only as suggestion of a course of action meant m?ich, this knappe summary in such a way details to write, da?man the Gef? has, history fairly. It is not missing, da?Sie during the actual writing of the film script?derungen makes also. That becomes everyone in this Gesch?. If you intend however to make very substantial?derungen (this becomes also as &ldquo.moving the goalposts&rdquo., &ldquo.Versetzen the Torpfosten&rdquo., designation), should you first with the person deny itself, who you refer paid to it, da?Sie itself the L?en in their. If you are not yet?r each step of history schl?ig, k?en in an accompanying note on it refer to, da?noch various. Is neither necessary nor m?ich, da?Sie s?liche details, before you with that is, da?die summary the reader on more emotional and not only purely informative level responds, and hieran it lacks. This can be achieved easily by it, da?man explanation, why the figures are forced to thus act as they do it, and as it the events &ndash. or those. One can never be safe, da?eine certain scene or a certain incident &ldquo.sehr emotional&rdquo. Does it nevertheless act with the summary is important it to mediate to the reader da?Sie f? just as importantly as the letter of the first draft, but only few authors or give themselves diesbez?ich enough M recognize this?. or Treatment should read itself like the summary of a book, which you selected straight, or a film, it. It, if you do not write the script in the Pr?ns yet existed, is irrelevant. It is to be clarified, which you write m?ten, before the actual clerical work took place. A zus?licher section: some scenes a further section anf?n, some scenes enth?, in order to arrange for the reader an impression from your write style to to lend to its figures voice and the general impression of their in addition whether the scenes initial scenes ausgew?ten by you should be or Ausz? from the dramatic H?punkt of the. If you use really sp?re scenes from the film or book m?ten, do it &ndash. however erkl?n you unmi?erst?lich, over it acts which scenes, and send you never indiscriminately different, not. Sides from different parts of their work return, in order to demonstrate their versatility (which does not occur so rarely at all). a strongly umk?ften market will land, w? it a consequence-fraught error for your part, the Treatment to vernachl?igen. It is f?Wort word, page f?Seite just as importantly as the finished work, even if it never to?fentlichkeit. I of it out, da?ein really good Treatment several times?rarbeitet and one ver?ert, before it sent. The reason, why I am ready to work with customers on it this document into the bestm?iche form to bring, is that, da?die correct form a crucial difference bez?ich the H? a contract to constitute can. K?er of Treatments work in a Gesch?, in that speculation at the agenda is, there rights at unwritten. Also you are in this Gesch?. F?gkeiten paired its, if it really good Treatments. Document in these four or f? Sections partition, help you to the reader understand your intentions and give it confidence into your F?gkeiten to convert these intentions create you it in such a way to arouse its interest in the acquisition of their work. Do you never forget, do da?Schreiben a very manipulativer Proze? Words are gew?t, in order to produce with readers reactions whether it concerns now with the reader someone, which bought straight in the trade a copy of your book, or around an editor, who is impressed gen?nd, you the order f? This reaction to obtain, should their. Confusion with the distinction between the Treatment and that. In the preceding chapter it concerned the Treatment, your Vorschl? describes, how you intend to convert the different aspects the story in the film script. around the scenario, which itself the detailed structure of a film, which turns chronological arrangement. ?r the difference between these two documents in the clear. It is advisable to prepare, both a Treatment and a scenario, before one with the actual letter. Principal purpose of the Treatments insists giving the author opportunity to launch its history erm?icht a scenario the author to analyze history gr?lich and on its logical Verkn?ungen too pr?n. applying the production funds pulls to producers therefore gew?lich narrativ verfa?e Treatments that rather step allgemeing?ige procedure f?das letters different Vorschl? aufgef?t?r they no matter whether you find your own method or some different one avails itself &ndash. is crucial their a structure in three documents describes, which gew?lich motion picture films have, in addition, television films or in itself locked. Gew?lich Pa? it however not to series, those h?ig with a H?punkt end and zus?lich with a Cliffhanger, to that to the n?sten consequence?rleitet. the structure of the film suggested by you reflect individual document should be clearly defined. Abs?e place, in those you the surrounding field in front of history outline &ndash. Place of the action, Atmosph?, Humans, who lend its special dynamics to the place. ?r the main figures follow paragraph &ndash. _ old, appearance, but above all their ambition, St?en, Schw?en and it erl?ere I the structure a scenario after the method of Clare Downs and Pascal Lonhay, analyst with EAVE. Most B?er?r the letter of Drehb?ern contains more detailed analyses of the structure of film script. History in intonation, style and Atmosph? the film, after you placed yourselves first the following fundamental questions:. What makes the main figure ripe for f? their &ldquo.ungest?e Lebensroutine&rdquo. out. Public to become acquainted with the main figure as it before the event, which introduces the main action of the film, meant and acted. Catalyst, the Schl?elereignis, that actual history introduces and the main figure from the course throws also as &ldquo.Ansto?rdquo. marks the first act to be established. It develops h?ig at &ldquo.Point the OF NO return&rdquo., if the main figure the decision f?t to further pursue which m?te it. in a finished developed feature film script about 25 sides. In your scenario k?en two sides are sufficient to first act the fundamental information?r the persons, the location and the core of history to be mediated, develop in the second act history gew?lich?r problems and obstacles, with those the main figure itself confronted. These problems f?en mostly within the second act to a first and second H?punkt. These are only rough guidelines here, and if you know, what you do and why you it does it you k?en rules or guidelines break, as long as them the gew?chten and w?chenswerten effect obtains. 100 to 120 sides is enough for feature film script umfa? the second act on the average around the 60 to 70 sides. it?r one hour, the main stress up to the second H?puntk. acts, needs you gew?lich two H?punkte, around those should for instance in the center of the second act settled be that first times, da?die tension between desire (that rises from the main stress) and danger (the obstacles, which it applies to?rwinden) their H?punkt reaches. H?punkt acts it around the point, at that the Kr?e, which create the main stress, vollst?ig with one another. Lends to the Schlu?kt doesn't new tension Mu turn? but very n?lich, since they help k?en, history on some Aufl?ng, you contain the g?iste structure of a film script?r a crisis and a one. With the crisis it therefore turns which decision the main figure f?en mu? in order to f?en the abschlie?nde Action of history to the point, at that the Protagonist reaches, what he wanted to reach &ndash. in a finished feature film script ten to 25 sides long its. Ten sides are the lowest border. Act in approximately same long as first (about two sequences of ever. The third act should angef?t, consists the main function of such a scenario of dividing the action into individual scenes thus da?Autor and producer their structure to analyze and with the arrangement of the scenes plays to k?en, over the most exciting structure writes the scenes on different record sheets and pinnen the this to the wall, the so da?sie scenes at will to arrange and pr?n k?en, which effect the conversions in each case to those. Other authors draw flow charts and. Decisions very sorgf?ig pr?n. the history chronologically or not interesting or very abh?ig of dialogues. To ears such as eyes of the spectators to the structure functions, before it with the first raw version of their. Four to f? knappe S?e sufficiently to decide, as you want to concern each individual scene, place yourselves you should show contents of each scene with each individual scene the following questions:. The scene is assigned to the correct person. Why it cannot reach it, or as it reaches it. Kind advances this scene history. History also without this scene erz?en. the scene the spectator something important?r the character that. If not, as I can do this reach gew?te location the bestm?iche, around the scene so. History in this scene (which is necessary) or dia.-logically (which is less effective) erz?t visually. Question, which one should place oneself in the first act, reads: Which is the worst, which is to give zusto?n k?te. an Happy ending, more mu?der second H?punkt at the end of the second act emphasizes, da?die main figure briefly before it to the main figure. The Aufl?ng shows then, like it nevertheless still. If you plan a negative end, hope should arise, da?die main figure it with the second H?punkt. In the Aufl?ng is then shown, how. Question, which one should ask, if one makes oneself?r the structure of a film history thought, is the following: As the public is itself when leaving the cinema f?en. hier?r in clear, k?en you pr?n, whether the structure of your document f?t logically to the end, that gew?chte. before your own confidenceness with your figures and their. Do you have both too much inside light, become you history in unsatisfactory edited version erz?en. always to it, da?Sie not from your readers &ndash. no matter, whether it concerns around professionals or the broad public &ndash. expects k?en, da?sie gro? Efforts undertake to check up complex Zusammenh?e or confusing figures. A sorgf?ig prepared scenario will facilitate the letter of the film script for you and itself positively on the Qualit?des. The work einschlie?ich all of its parts is close borders of the copyright law is unzul?ig and punishable without agreement of the right owner. Microfilmings and storage and processing in. Guardian, &ldquo.Ars Brevis&rdquo. Cartoon. is the historical background of a figure before beginning of the action of the film script or novel historical Hintergr?e of the figures is?erst it. F?European Audiovisual Entrepreneurs, a program of the MEDIA ii-program of the Europ?chen union stands for park, Sight & sound, magazine of the BFI, summer 1990. consists of a number of paneurop?cher Workshops to.