Here is a scene of the film, James Bond Casino Royal. http://www.youtube.com/watch?v=Gvr6uRvESvM
This is a typical thriller fighting scene.
Wednesday, 17 March 2010
How to write a good thriller storyline
There are so many different components to thriller writing that it’s one of the most difficult genres to succeed in as a writer. If you consider some of the most successful thrillers, their storylines are often quite farfetched yet the writer must tell the story in such a way that the audience can perceive it to be real and become totally absorbed by it.
Creating a Sense of Danger
A thriller needs to have a central main character (protagonist) who finds themselves in danger. Often, the plot of a thriller will seek to isolate the protagonist from the world around them to the extent that we get to learn much more about their inner feelings and all about the predicaments they’re faced with. To do this successfully, you need to be able to portray their sense of loss, betrayal, feeling as though they are on the edge and that their whole world is at risk of collapse. Quite often, they’ll also be at risk of death at the hands of their main opponent (antagonist), although not necessarily in all thrillers. However, the important thing is to get the viewer to actually feel that the problems the protagonist encounters could actually happen to them and to be able to instill a sense of fear, dread and worry into the audience.
The Importance of Pace
If you’re making a thriller film or video, you need to ensure that it’s fast paced throughout. Very often, the beginning of a thriller wastes no time in putting the protagonist in a dilemma from the off and this enables the audience to relate to their situation immediately.
The Balance of PowerAnother important aspect of thriller writing is to ensure that the villain or antagonist always has the balance of power shifted in their favour for the vast majority of the film. The whole idea being to draw the audience in to the struggles the protagonist needs to try to overcome and to get the audience on the protagonist’s side. Therefore, the villain must always be one step ahead up to the point of climax when the power shifts and the villain is eventually defeated.
Twists and Turns
Good thrillers try to lure the audience in to a false sense of security. They should be written from the point of view of taking the audience on a journey where they’re not sure where they are going. Scenes which build to a point where the audience thinks they know what to expect but then the scene dramatically switches to an unforeseen outcome will maintain the suspense and tension.
Character Growth
Another important aspect of thriller writing is to ensure that the audience gets to know and understand all of the weaknesses and fears in the protagonist’s character but as they come to overcome the challenges they’re presented with, the film or video must also reflect their strength and determination and, in the final outcome, show how overcoming their greatest fears and rising to the challenges have made them into a better person. At the same time, it’s also important to expose the antagonist’s weaknesses and now their own fears as the balance of power shifts and good triumphs over evil.
Quite often with thrillers, good writers will build to a climax where good eventually does win out but then when you think you can stop biting your finger nails and relax, the villain or antagonist will engage in one final attempt to undermine the hero before being thwarted for good.
Creating a Sense of Danger
A thriller needs to have a central main character (protagonist) who finds themselves in danger. Often, the plot of a thriller will seek to isolate the protagonist from the world around them to the extent that we get to learn much more about their inner feelings and all about the predicaments they’re faced with. To do this successfully, you need to be able to portray their sense of loss, betrayal, feeling as though they are on the edge and that their whole world is at risk of collapse. Quite often, they’ll also be at risk of death at the hands of their main opponent (antagonist), although not necessarily in all thrillers. However, the important thing is to get the viewer to actually feel that the problems the protagonist encounters could actually happen to them and to be able to instill a sense of fear, dread and worry into the audience.
The Importance of Pace
If you’re making a thriller film or video, you need to ensure that it’s fast paced throughout. Very often, the beginning of a thriller wastes no time in putting the protagonist in a dilemma from the off and this enables the audience to relate to their situation immediately.
The Balance of PowerAnother important aspect of thriller writing is to ensure that the villain or antagonist always has the balance of power shifted in their favour for the vast majority of the film. The whole idea being to draw the audience in to the struggles the protagonist needs to try to overcome and to get the audience on the protagonist’s side. Therefore, the villain must always be one step ahead up to the point of climax when the power shifts and the villain is eventually defeated.
Twists and Turns
Good thrillers try to lure the audience in to a false sense of security. They should be written from the point of view of taking the audience on a journey where they’re not sure where they are going. Scenes which build to a point where the audience thinks they know what to expect but then the scene dramatically switches to an unforeseen outcome will maintain the suspense and tension.
Character Growth
Another important aspect of thriller writing is to ensure that the audience gets to know and understand all of the weaknesses and fears in the protagonist’s character but as they come to overcome the challenges they’re presented with, the film or video must also reflect their strength and determination and, in the final outcome, show how overcoming their greatest fears and rising to the challenges have made them into a better person. At the same time, it’s also important to expose the antagonist’s weaknesses and now their own fears as the balance of power shifts and good triumphs over evil.
Quite often with thrillers, good writers will build to a climax where good eventually does win out but then when you think you can stop biting your finger nails and relax, the villain or antagonist will engage in one final attempt to undermine the hero before being thwarted for good.
Monday, 15 March 2010
Different characters in a Thriller
Hero: A hero (heroine in female) (Ancient Greek: ἥρως, hḗrōs), in Greek mythology and folklore, was originally a demigod, their cult being one of the most distinctive features of ancient Greek religion. Later, hero (male) and heroine (female) came to refer to characters who, in the face of danger and adversity or from a position of weakness, display courage and the will for self sacrifice – that is, heroism – for some greater good, originally of martial courage or excellence but extended to more general moral excellence.
Stories of heroism may serve as moral examples. In classical antiquity, hero cults – veneration of deified heroes such as Heracles, Perseus, and Achilles – played an important role in Ancient Greek religion. Politicians, ancient and modern, have employed hero worship for their own apotheosis (i.e., cult of personality).
Villain: A villain (also known in film and literature as the "bad guy", "black hat", or "heavy") is an "evil" character in a story, whether a historical narrative or, especially, a work of fiction. The villain usually is the antagonist, the character who tends to have a negative effect on other characters. A female villain is sometimes called a villainess (often to differentiate her from a male villain). Random House Unabridged Dictionary defines villain as "a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot".
Stories of heroism may serve as moral examples. In classical antiquity, hero cults – veneration of deified heroes such as Heracles, Perseus, and Achilles – played an important role in Ancient Greek religion. Politicians, ancient and modern, have employed hero worship for their own apotheosis (i.e., cult of personality).
Villain: A villain (also known in film and literature as the "bad guy", "black hat", or "heavy") is an "evil" character in a story, whether a historical narrative or, especially, a work of fiction. The villain usually is the antagonist, the character who tends to have a negative effect on other characters. A female villain is sometimes called a villainess (often to differentiate her from a male villain). Random House Unabridged Dictionary defines villain as "a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot".
Characteristics
Thrillers often take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common; for an early example see Sigourney Weaver's character Ripley, in the movie Alien, 1979.
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened; while a murder mystery would be spoiled by a premature disclosure of the murderer's identity, in a thriller the identity of a murderer or other villain is typically known all along. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others. In thrillers influenced by film noir and tragedy, the compromised hero is often killed in the process.
In recent years, when thrillers have been increasingly influenced by horror or psychological-horror exposure in pop culture, an ominous or monstrous element has become common to heighten tension. The monster could be anything, even an inferior physical force made superior only by their intellect, a supernatural entity, aliens, serial killers, or even microbes or chemical agents. Some authors have made their mark by incorporating all of these elements (Richard Laymon, F. Paul Wilson) throughout their bodies of work.
Similar distinctions separate the thriller from other overlapping genres: adventure, spy, legal, war, maritime fiction, and so on. Thrillers are defined not by their subject matter but by their approach to it. Many thrillers involve spies and espionage, but not all spy stories are thrillers. The spy novels of John le Carré, for example, explicitly and intentionally reject the conventions of the thriller. Conversely, many thrillers cross over to genres that traditionally have had few or no thriller elements. Alistair MacLean, Hammond Innes, and Brian Callison are best known for their thrillers, but are also accomplished writers of man-against-nature sea stories.
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened; while a murder mystery would be spoiled by a premature disclosure of the murderer's identity, in a thriller the identity of a murderer or other villain is typically known all along. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others. In thrillers influenced by film noir and tragedy, the compromised hero is often killed in the process.
In recent years, when thrillers have been increasingly influenced by horror or psychological-horror exposure in pop culture, an ominous or monstrous element has become common to heighten tension. The monster could be anything, even an inferior physical force made superior only by their intellect, a supernatural entity, aliens, serial killers, or even microbes or chemical agents. Some authors have made their mark by incorporating all of these elements (Richard Laymon, F. Paul Wilson) throughout their bodies of work.
Similar distinctions separate the thriller from other overlapping genres: adventure, spy, legal, war, maritime fiction, and so on. Thrillers are defined not by their subject matter but by their approach to it. Many thrillers involve spies and espionage, but not all spy stories are thrillers. The spy novels of John le Carré, for example, explicitly and intentionally reject the conventions of the thriller. Conversely, many thrillers cross over to genres that traditionally have had few or no thriller elements. Alistair MacLean, Hammond Innes, and Brian Callison are best known for their thrillers, but are also accomplished writers of man-against-nature sea stories.
What is a thriller?
Thriller is a broad genre of literature, film and television that includes numerous and often overlapping sub-genres. Thrillers are characterized by fast pacing, frequent action, and resourceful heroes who must thwart the plans of more powerful and better equipped villains.[citation needed] Writer Vladimir Nabokov, in his lectures at Cornell University, said that "In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine." Literary devices such as suspense, red herrings and cliffhangers are used extensively. "Homer's Odyssey is one of the oldest stories in the Western world and is regarded as an early prototype of the thriller." A thriller is villain driven plot, whereby he presents obstacles the hero must overcome. The genre is a fascinatingly flexible form that can undermine audience complacency through a dramatic rendering of psychological, social, familial and political tensions and encourages sheltered but sensation-hungry audiences, in Hitchcock's phrase, "to put their toe in the cold water of fear to see what it's like."
Different types of thriller
The thriller genre can include the following sub-genres, which may include elements of other genres:
Action thriller: In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller: In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor, Capricorn One, and JFK.
Crime thriller: This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller: In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
Drama thriller: In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Science-fiction thriller: Alien and Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram are examples of science-fiction thrilers.
Horror thriller: In which the main character is put in danger and their main enemies are unrealistic creatures in which they must destroy to achieve their goal. Films such as Evil Dead 2 and Zombi 2 fit into this genre of thriller.
Erotic thriller: In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Dressed to Kill, Color of Night, Eyes Wide Shut, Fatal Attraction, Looking for Mr. Goodbar, Obsessed, and In the Cut.
Legal thriller: In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller: In which the hero/heroine are medical doctors/personnel working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller: In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film Agency.
Psychological thriller: In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a TrainDavid Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers) and The Good Son starring Elijah Wood and Macaulay Culkin and Manichitrathazhu a malayalam film.
Spy thriller (also a subgenre of spy fiction): In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia, with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller).
Techno-thriller: In which (typically military) technology is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Techno thriller".
Religious thriller: In which the plot is closely connected to religious objects, institutions and questions. While suspense stories have always shown a significant affinity for religion and philosophical issues (G.K. Chesterton's novel The Man Who Was Thursday has been called a "metaphysical thriller"; and Umberto Eco's novels The Name of the Rose and Foucault's Pendulum both display thriller characteristics), Dan Brown's 2003 best-seller The Da Vinci Code has led to a current boom in religiously oriented thrillers.
Action thriller: In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller: In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor, Capricorn One, and JFK.
Crime thriller: This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller: In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
Drama thriller: In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Science-fiction thriller: Alien and Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram are examples of science-fiction thrilers.
Horror thriller: In which the main character is put in danger and their main enemies are unrealistic creatures in which they must destroy to achieve their goal. Films such as Evil Dead 2 and Zombi 2 fit into this genre of thriller.
Erotic thriller: In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Dressed to Kill, Color of Night, Eyes Wide Shut, Fatal Attraction, Looking for Mr. Goodbar, Obsessed, and In the Cut.
Legal thriller: In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller: In which the hero/heroine are medical doctors/personnel working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller: In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film Agency.
Psychological thriller: In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a TrainDavid Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers) and The Good Son starring Elijah Wood and Macaulay Culkin and Manichitrathazhu a malayalam film.
Spy thriller (also a subgenre of spy fiction): In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia, with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller).
Techno-thriller: In which (typically military) technology is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Techno thriller".
Religious thriller: In which the plot is closely connected to religious objects, institutions and questions. While suspense stories have always shown a significant affinity for religion and philosophical issues (G.K. Chesterton's novel The Man Who Was Thursday has been called a "metaphysical thriller"; and Umberto Eco's novels The Name of the Rose and Foucault's Pendulum both display thriller characteristics), Dan Brown's 2003 best-seller The Da Vinci Code has led to a current boom in religiously oriented thrillers.
Editing (09.03.10)
We have finished the entire filming.
We used Adobe Premiere Elements to edit our film. First we did a rough cut of our movie, by capturing the scenes we wanted to include in our film. After that we started with the fine cuting of the film. This enabled us to choose the right music and sound effects for the film. We got most of our music and sound effects from websites like http://www.royaltyfreemusic.com, which offered copyrightfree music and sound effects for free. It didn't take us a long time to find the music for our film. However, it was quite hard to find the right gunshot sound. This was one of the most important sound effects in our movie. Most of the gunshot sounds sounded rather more like a shot gun, than pistole. After an entire lesson we found the right gunshot sound. We did the credits at last. It was very importat that the credits were not too short or too long.
All in all, I have to say I'm very happy with our finished film.
We used Adobe Premiere Elements to edit our film. First we did a rough cut of our movie, by capturing the scenes we wanted to include in our film. After that we started with the fine cuting of the film. This enabled us to choose the right music and sound effects for the film. We got most of our music and sound effects from websites like http://www.royaltyfreemusic.com, which offered copyrightfree music and sound effects for free. It didn't take us a long time to find the music for our film. However, it was quite hard to find the right gunshot sound. This was one of the most important sound effects in our movie. Most of the gunshot sounds sounded rather more like a shot gun, than pistole. After an entire lesson we found the right gunshot sound. We did the credits at last. It was very importat that the credits were not too short or too long.
All in all, I have to say I'm very happy with our finished film.
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