Post by MenelaosGkikas on Apr 11, 2022 20:45:52 GMT
Republished from my Facebook Page, January 9, 2022
Hello friends and Jacob Krueger Studio alumni! Today I would like us to dig. Dig deep on the essence of arts, numerous arts, from the viewpoint of writers. To achieve that goal, I will borrow a term from screenwriting theory. Hooks. Before I get into it, I would like to admit I am a fanatic spectator of movies related with schools of the arts. For example, projects like the television series Fame, Mona Lisa smile with Julia Roberts handling History of Art students, High School musical, Step Up 2: The Streets with the dancing company as well as being mesmerized from numerous artists as well as a few other professionals such as Leonardo Da Vinci, Michelangelo, the symbologist Robert Langdon in Da Vinci Code and generally, jobs and characters portraying the power of our culture, Ice Skating, Cirque Du Soleil acrobats, ballet, etc. Phenomenally speaking, as I am not the only one with such a list, you can get wildly whimsical with such a diversity in the sense of believing you know about art…, guaranteed. But if we try to unwrap the present, there may be a wonderful reality unfolded. For example, Fame and Step Up 2: The Streets deal with dancing students and crews. Watch the next sentence. “In a world where schools of the arts’ students reach the pinnacle of success and glory, keeping their teachers’ motivations in their hearts will protect them in the face of real-world adversities”. This is called a hook. What is it? We begin the sentence with an external way of talking about the characters and then we continue with an ironic twist. The external version of an idea is called a hook.
Every hook is some version of these words, ‘in a world where…”. To the point, it becomes worldview, cosmotheory. Every scene with characters and character wants and characters that go after the want, continue with a hook in the sense that “character -> want -> go -> hook”. Many times, there are ironic journeys in that. As a starting point to my interests now, it seems that hooks can exist all over a script including literature and movies. Externalizing the plot to discover messages, allegories, we discover that movies are teaching us about worlds and characters we can only dream of… Phenomenally speaking again, there’s only the power of words and only in between writers such games can come to fruition 100%... So, let me now give you the importance of talking about “spaces”, rushed by Rowling’s book The Christmas Pig. Every ‘thing’ that people lose or throw away goes to the Land of the Lost where they can live in different towns, graduated as far as luxury and conditions are concerned, based on the love they received and whether their owners truly loved them and cared about them! In the 21st century it’s natural common for people to do a repeated shit whereas they could have a better life, a better time, somewhere else. This, is my own message of hooks, arts and externalization of ideas. This is a reality that shifts from the hook and directs us to the plot and structure departments of stories. It’s how we surpass the choreographies of Step Up 2: The Streets and start dealing with characters, plot is character, character is plot.
Conclusively, it doesn’t matter what writers know, as screenplays many times force them to deal with things they don’t know, but also the reality of enlightening, influencing and persuading based on what they know. It’s all about influence and persuasion! Have a great time folks!
Hello friends and Jacob Krueger Studio alumni! Today I would like us to dig. Dig deep on the essence of arts, numerous arts, from the viewpoint of writers. To achieve that goal, I will borrow a term from screenwriting theory. Hooks. Before I get into it, I would like to admit I am a fanatic spectator of movies related with schools of the arts. For example, projects like the television series Fame, Mona Lisa smile with Julia Roberts handling History of Art students, High School musical, Step Up 2: The Streets with the dancing company as well as being mesmerized from numerous artists as well as a few other professionals such as Leonardo Da Vinci, Michelangelo, the symbologist Robert Langdon in Da Vinci Code and generally, jobs and characters portraying the power of our culture, Ice Skating, Cirque Du Soleil acrobats, ballet, etc. Phenomenally speaking, as I am not the only one with such a list, you can get wildly whimsical with such a diversity in the sense of believing you know about art…, guaranteed. But if we try to unwrap the present, there may be a wonderful reality unfolded. For example, Fame and Step Up 2: The Streets deal with dancing students and crews. Watch the next sentence. “In a world where schools of the arts’ students reach the pinnacle of success and glory, keeping their teachers’ motivations in their hearts will protect them in the face of real-world adversities”. This is called a hook. What is it? We begin the sentence with an external way of talking about the characters and then we continue with an ironic twist. The external version of an idea is called a hook.
Every hook is some version of these words, ‘in a world where…”. To the point, it becomes worldview, cosmotheory. Every scene with characters and character wants and characters that go after the want, continue with a hook in the sense that “character -> want -> go -> hook”. Many times, there are ironic journeys in that. As a starting point to my interests now, it seems that hooks can exist all over a script including literature and movies. Externalizing the plot to discover messages, allegories, we discover that movies are teaching us about worlds and characters we can only dream of… Phenomenally speaking again, there’s only the power of words and only in between writers such games can come to fruition 100%... So, let me now give you the importance of talking about “spaces”, rushed by Rowling’s book The Christmas Pig. Every ‘thing’ that people lose or throw away goes to the Land of the Lost where they can live in different towns, graduated as far as luxury and conditions are concerned, based on the love they received and whether their owners truly loved them and cared about them! In the 21st century it’s natural common for people to do a repeated shit whereas they could have a better life, a better time, somewhere else. This, is my own message of hooks, arts and externalization of ideas. This is a reality that shifts from the hook and directs us to the plot and structure departments of stories. It’s how we surpass the choreographies of Step Up 2: The Streets and start dealing with characters, plot is character, character is plot.
Conclusively, it doesn’t matter what writers know, as screenplays many times force them to deal with things they don’t know, but also the reality of enlightening, influencing and persuading based on what they know. It’s all about influence and persuasion! Have a great time folks!