Bricks in Motion
We are a friendly filmmaking community devoted to the art of stop-motion animation using LEGO® and similar construction toys. Here, you can share your work, join our community of other brickfilmers, and participate in periodic animation contests!
A place to discuss, share, and create stop motion films.
Ad
You are not logged in. Please login or register.
Well, let's reinstate the contest. One Douglass has the topic of FOR THE GREATER GOOD. Let's send him something by mignight eastern time on May 31!
Alright. I'm ready to judge whenever the entries are ready.
It's about time, with a new fiscal year upon us, to revive this contest!
I thought of a great topic!
I call it, "the unsolvable mystery"
A character doesn't know something about a second character that should be obvious to him, but is embarrassed to let the other person find out he doesn't know. So the character employs various ways to get the answer without letting on that he doesn't know. Every attempt fails for comedic effect.
This is a sitcom device used for comedy, and it's the premise of every episode of "It's Pat", back when Saturday Night Live was actually funny.
Pat is a character who looks somewhat manlike and somewhat womanlike, and no one can figure out which. Another character can not figure out Pat's gender, but the character always feels embarassed by asking, so he tries to use clues to find out, but every attempts backfire.
For instance, in one episode, Pat goes to a barber shop for a haircut, so the barber just cuts the hair shorter without styling it, not knowing whether or not to give a man's or woman's style. When Pat asks how much, the barber has a sign that says, Men, $3, women $4, but doesn't know which to say, so just points at the sign for pat. He figures when Pat pays, he'll find out which gender s/he is. Pat pays with a $5. Now he doesn't know how much to give back. He looks with confusion. Pat notices, and says, "I know". the barber feels embarrassed, thinking Pat realized he is confused over Pat's gender, but is relieved when Pat says, "It's okay. Keep the tip."
This type of humor is often used in sitcoms. Seinfeld uses it often. One example is the episode where Jerry dates a woman and forgets her name, and spends the episode trying to figure it out without her discovering she doesn't know.
An episode of The middle uses this device. Axl is taking a girl to homecoming dance. This girl is constantly in the presence of her best friend, so much so that Axl doesn't even know which girl he's taking. And he tries to find out with various open-ended questions that only the actual girlfriend would answer, but they always answer with unexpected curveball answer. Finally he takes a shot and kisses one of them. Both girls slap him. He says, "are you mad at me because I kissed you inappropriately in front of my girlfriend? Or becauee you're my girlfriend and you didn't want me to kiss you appropriately in front of my firend? Please tell me; one of you really means a lot to me!"
So write a story of six pages or less (not including title page) using this advice. Funniness counts toward the overall grade! Standard Screenplay Challenge rules apply (read top of thread). Deadline is October 10th, 11:59 PM Eastern Time.
Good luck!
Oh, yes! I forgot! The above contest has a prize. The winner receives a prototype "Holding Our Own Card Game". In this 4-player game, players get into teams of two (be Melissa and Johnny Strange vs Angela and Brent) and vie to create the best "argument" with your hand. Win an argument and take the cards. The most cards win! Only four prototypes exist and ever will exist.
Mod edit: Please don't double post
Here's my entry. I hope you enjoy it. This is the first time I had to cut things out to keep the screenplay under the page limit.
I do that cutting all the time
The deadline is tonight, writers! If you think you work best under pressure, now is your time.
Well, the honor goes to you by default, One Douglass. It was pretty good regardless. I know there are other talented writers there who can give us a challenge, though.
I think the award should go to a winner where 2+ people compete, though.
The next topic is yours!
Yeah, it would be nice if there was more competition.
The new theme is an unexpected event.
The deadline is October 19th.
Happy screenwriting!
Last edited by BrickTective Productions (October 13, 2016 (02:35pm))
Interesting theme. whenever I earned the opportunity to choose a theme, I tried to pick one a bit challenging, so a writer has to think a bit. But By pushing oneself, I hoped they'd really come up with something they'd be proud of having written.
I'll be thinking abotut his topic as I do a mundane but invigorating task today at work.
I got it done late. Things happened this week. but here's the entry.
-
FATE
SCREENPLAY BY
MICHAEL C. TOURETTE
-
INT. LIVING ROOM - DAY
The living room features a TELEVISION SET and a COUCH with an END TABLE next to the couch. a DESK PHONE is on the end table. Seated on the couch is our UNNAMED protagonist, watching a female NEWSCASTER on TV.
NEWSCASTER
...And new statistics show that the number of plane crashes have steadily increased over the past two years. The reasons are varied: terrorist attacks, mechanical failure, unattentive piloting...
Unnamed reaches to the end table, picks up the phone receiver and dials a number. The phone rings.
UNNAMED
(To phone.) Yes, Liberty Travel Agency? Please cancel my seat on the flight to Phoenix next week. No... That's right. I understand the money isn't refundable, but there's a change in plans and I'll be traveling by car. Sure, I'll provide my info. Flight number 512. My name is...
DISSOLVE TO
EXT. UNNAMED'S HOUSE - DAY
The house has a GARAGE with a GARAGE DOOR that faces stage left. The garage door opens. UNNAMED drives a distinctive RED CAR out of the garage and onto the road. There is a SUITCASE tied to the top of the car.
HYPER PAN TO
EXT. THE SKY ABOVE - DAY
A 747 JET is flying in the direction of stage left. Suddenly one jet ENGINE explodes and emits smoke.
SUT TO
INT. 747 JET - DAY
PASSENGERS are in the jet. There is rumbling and shakiness for a moment as a reaction to the boom. the passengers move around and make excited noises.
SFX: Bing.
PILOT (o.s.)
(Voice filtered through intercom) Attention, flight 512 passengers. We've experienced an unexpected event: critical engine failure. Please remain calm as we make emergency preparations.
The passengers begin to panic.
CUT TO
EXT. The SKY ABOVE - DAY
The 747 JET is careening toward the Earth. One by one, the PASSENGERS are parachuting out of the plane. At irregular intervals, their PARACHUTES open and they float downwards.
CUT TO
EXT. ROADWAY - DAY
The RED CAR is making its way down the road. Around him, PASSENGERS on PARACHUTES are landing safely.
CLOSE ON UNNAMED
UNNAMED looks out the CAR WINDOW in awe.
UNNAMED
Woah! Good thing I canceled that flight.
CUT TO
EXT ROADWAY - DAY
The RED CAR continues down the roadway. Unexpectedly, the 747 crashes onto the red car, stopping it in its tracks.
THE END.
Last edited by HoldingOurOwn (October 21, 2016 (07:38pm))
Since no one entered in before the deadline I will extend it to the 25th. If anyone wants to give HoldingOurOwn some competition, now would be the time.
GIVE ME COMPETITION! You don't want me to walk away with the award, do you? Well, there's only one way to stop me.
As per your desire for competition, I humbly offer, my entry.
-
SOLE FATALITY
SCREENPLAY BY PAUL IRVING
-
EXT. WIDE SHOT OF NEW YORK CITY: MORNING
A panning, wide shot of New York City. Show time, 08:00 A.M. EST.
INT. HILTON HOTEL IN NEW YORK CITY: MORNING
A crowd of people fill the ground level of the hotel. Some are requesting rooms, others are partaking of the complimentary breakfast. Chatter fills the background.
A medium sized group of people walk in through the doors carrying duffel bags and back-packs. All wear sunglasses and hoodies.
Upon entering, two of their group immediately turn around and bar the doors. Then, they all set down their bags and pull out smoke grenades and guns.
The smoke grenades are thrown throughout the room, the guns are pointed at hotel security and management behind the desk. Screams and chaos reign as the terrorists take the hotel.
TERRORIST LEADER (IN FARSI) - "Search the hotel, I want every living soul in the hotel, in this room."
A team is sent to the elevator to round up anyone else in the hotel.
TERRORIST 1 (IN BROKEN ENGLISH) - "Everyone, get on the floor! Get on the ground! Remove any and all electronic devices and place them on the ground above your head. Then, put your hands behind your back!"
Show Time: 08:45A.M.
Soon, the team arrives with the rest of the hostages, they are made to get on the ground just as everyone else.
TERRORIST LEADER (IN FARSI) - "You three, watch these Americans. Assad, and the rest of you, set up the video. We will show the world the weakness of America. We will make our demands, and they will give in, to save their precious hostages."
During all of this, one man, our protagonist, watched, and obeyed with silence. He was just another one of the hostages, and yet, he was different. His Iraq War military experience and his Harvard education gave him the unique abilities required to comprehend what needed to be done in a situation like this. He also understands Farsi. We show all of this information in a brief, onscreen, biography.
ASSAD (IN FARSI) - "Sir, the camera's batteries are dead. To record the video, I will have to use the CCTV footage from the hotel."
TERRORIST LEADER (IN FARSI) - "How will you do that?"
ASSAD (IN FARSI) - "I'll have to use the computer in the security room. Follow me."
They walk off with their entire team. Leaving just the three guards with the hostages.
Show time: 10:45 A.M.
The two guards, farthest from the protagonist, walk off to put a hostage attempting to escape back in his place by beating him up. Immediately, the protagonist jumps up from his place and hurls himself on the guard nearest to him. He overpowers the terrorist, knocking him unconscious and taking the gun. He then dashes over and takes cover behind the front desk. When the two guards come back they see their fallen companion and attempt to rush over to the security room at the other end of the room to warn their leader. But, they are stopped short as our protagonist shoots them down, killing one instantly and wounding the other. The shots and screams attract the attention of the leader and his team and they storm out of the security room.
TERRORIST LEADER (IN FARSI) - "What is going on here?"
Show Time: 1:00P.M.
Then, a pitched gun battle begins. The crowd screams as the bullets wizz over their heads. The terrorist leader is mortally wounded. The font desk is torn up by the machine guns. The protagonist jumps over the desk and dives behind a support beam amid heavy fire. He aims, and fires, killing Assad. He feels a sharp and forceful pain in his knee but then targets the other guards firing. He wounds several of them, and then feels another sharp pain in his chest. After 15 minutes, all the terrorists are either dead or wounded. He immediately jumps forward to the cellphone and electronics pile. He pulls out a phone and informs the authorities of the situation.
ALEXANDER THORNTON - "Hello? This is Alexander Thornton. I'm one of the hostages at the hotel. I've taken down the terrorists. The hostages are fine with only minor injuries. The threat has been neutralized."
Almost immediately after hanging up the phone, a SWAT team which had been waiting outside during the crisis bursts through the doors and a man in full body armor comes up to him.
SWAT TEAM LEADER - "Are you alright sir?"
The protagonist immediately becomes aware of that terrible pain in his chest and knee mentioned before. He was bleeding from multiple gun-wounds. He fell to his knees.
SWAT TEAM LEADER - "Hey! I need a medic over here!"
The protagonist falls over onto the ground with the SWAT TEAM LEADER bending over him. The sounds gradually echo and everything fades to black.
Show Time: 1:45P.M.
EXT. MANHATTAN CEMETERY
A large crowd attends this funeral. Familiar faces from the hostages and hotel security are visible. In front of the casket, stands the mayor of New York.
MAYOR - "Ladies and Gentlemen, we have come here to remember a man, whom few people could claim to truly know. With few relatives still living, and even fewer friends, this man lived a life alone. He had no ties, connections, or obligations to any of these good people whom he courageously saved. In a time, where evil and good are often confused, this man stood up to evil and became a shining example of good. Ladies and Gentlemen, I'd like to read something. It is this, 'Greater love has no one than this, than to lay down one's life for his friends', John 15:13. Surely, all of us here, either witnesses, or survivors, can affirm the the very real truth of this verse. This man, Alexander Thornton, the sole fatality of this tragedy, was a hero. A hero who will remain in our hearts and the hearts of everyone who witnessed his courageous sacrifice, forever."
The funeral attendees clap.
FADE TO BLACK
Isn't the winner of this challenge supposed to be announced on October 25, 2016?
So I've read both entries multiple times and the winner is............
.........RemnantMedia! Congratulations! You will get the exclusive Screenplay Challenge certificate.
See what happend when you give some competition? Awesome job!
Welcome All... to this edition of, The Screenplay Challenge!
I'm Paul Irving, one of the writers here at Remnant Media and I'll be the judge of your scripts.
The theme for this edition is "Heroic Sacrifice".
The deadline is November 4, 2016.
Try to be creative with your interpretation of the theme. Heroic sacrifice doesn't necessarily mean a sacrifice of life or limb. It could also mean a sacrifice of valuable time, money, health or other entities. Perhaps a character sacrifices his/her reputation. After all, doing the right thing isn't always going to make you popular. Or, perhaps the character sacrifices a relationship with a friend because he/she knows that that is the right thing to do, for example, the friend is a bad influence. Sometimes, a hero sacrifices something which he enjoys, in order to do the right thing. Now, this is not to stop you from writing a story about a sacrifice of life or limb, not at all! This is just to remind you that there are other ways to interpret this theme, and to give you some ideas as you start your screenplay.
For this edition of The Screenplay Challenge, our studio, Remnant Media, is offering a special award. The winner of this challenge will receive a 15$ e-gift card to Amazon.com which will be emailed to them upon their being declared the victor! That's right! 15$!
So, what are you waiting for? Get out there and start writing!
Thanks,
Remnant Media
I'm not waiting. Got a story brewing...
Here's my entry.
And with less than two hours remaining, I just typed the last words of mine. A bit of human vs alien warfare sci-fi.
If you prefer a properly-formatted version of the screenplay, I can provide it via email (holdingourown "at" ymail "dot" com)
Here it is:
------------
ZERO BASE
SCREENPLAY BY
MICHAEL C. TOURETTE
EXT. DEEP SPACE - NIGHT - ESTABLISHING
In the depths of space, without a star to call its own, is ZERO BASE, a space station. Zero base is cigar-shaped with perpendicular rings of various sizes gripping to the spokes extending from it.
INT. ZERO BASE LOUNGE - NIGHT
Synth-heavy EDM is playing. Human beings a sprinkling of alien creatures are dancing, drinking, and partying. Among the dancers are ROGER YOUNG, a fit man with a crew cut, and VERONICA V., in a white dress.
VERONICA V.
I thought being an agent would stress me to death. But since being assigned here, my life's been unforgettable!
ROGER YOUNG
I know. And that's exactly the problem.
VERONICA V.
Oh, relax. Did you tell me you're allowed to remain here indefinitely?
ROGER YOUNG
And the longer I stay, the more difficult it is to leave.
VERONICA V.
I'll buy you a drink. Then you finally tell me how you got here.
CUT TO:
INT. ZERO BASE LOUNGE BAR - NIGHT
ROGER YOUNG and VRONICA V. are seated, drinking BLUE BEVERAGES.
ROGER YOUNG
I was head of tactical operations at Black Ops Intelligence Center, making final preparations for Operation Pushback.
VERONICA V.
That's the offensive that pushed the Rothaxi forces from the Vega System, am I right?
ROGER YOUNG
Yes, but the Rothaxi discovered our location and we were under attack.
DISSOLVE TO:
INT. BLACK OPS CENTER - DAY
the HALLWAYS are narrow and maze-like, with DOORS at irregular intervals. ROTHAXI COMMANDOS, orc-like aliens armed with FUTURISTIC GUNS, are running through the hallways, shooting any HUMAN SOLDIERS and AGENTS they encounter along the way.
ROGER YOUNG is at the far end of a hallway, witnessing the incident, and noticing the Rothaxi invaders approaching him. Roger Young sneaks off into an ELEVATOR, presses some buttons, and the ELEVATOR DOORS begin to shut. A ROTHAXI LIEUTENNENT notices him.
ROTHAXI LIEUTENNANT
I spotted their leader! At the end of the hall!
Two armed ROTHAXI SOLDIERS turn the corner. One aims a RIFLE at him and fires. An infinitesimal SHELL careens from the rifle and strikes Roger Young in the leg, just before the elevator doors shut completely.
ROGER YOUNG (v.o.)
All the intelligence for Operation Pushback was contained within our base. If it fell into Rothaxi hands, the mission would fail, we'd lose countless soldiers, and soon afterward, the war.
CUT TO:
INT. BLACK OPS CENTER BOMB SHELTER - DAY
The shelter is dimly lit, with yellow BOMB SHELTER SIGNS all around. The DOORS to the shelter dilate. ROGER YOUNG limps, as fast as he can, to a CONSOLE with a MONITOR and looks at the monitor while pressing buttons frantically.
ROGER YOUNG (v.o.)
So I waited until all of them were inside, and...
CUT TO:
EXT. BLACK OPS CENTER - DAY
The CENTER is a domed building hidden in RUSTY ROCK FORMATIONS under a PINK SKY. In an instant, the base explodes. Nothing remains.
DISSOLVE TO:
ZERO BASE LOUNGE - NIGHT
ROGER YOUNG
And that's the story. As the only one with detailed knowledge of the scenario,
The Space Marines assigned me to zero base until after the campaign ended.
VERONICA V.
That was over a year ago.
ROGER YOUNG
So, what about you?
VERONICA V.
I'm a unique case. I was an agent when the war first broke out. My ship was shot down by the Rothaxi, but I survived in an emergency pod by putting myself. Six years later, my pod passed near enough to Zero Base to be rescued.
ROGER YOUNG
How's that unique?
VERONICA V.
I discovered where I was before they implanted the nmenomizer. So they never gave me one. Therefore, I'm forbidden from leaving. Ever.
ROGER YOUNG
Wow. we've been dating a year, but I never felt I really knew you until now. Veronica, I should have told you long ago... I love you.
Veronica leans her head forward and they kiss each other.
SFX: SERIES OF SHORT OSCILLATING PULSES
Roger Young reaches into his pocket and pulls out a PAGING TUBE, then examines it.
ROGER YOUNG
Who knows my ansible frequency other than the Admiral? I'm so sorry; I've got to go.
Roger gets up abruptly and leaves hurriedly.
INT. ROGER YOUNG'S QUARTERS - NIGHT
The DOORS to Roger's quarters dilate and ROGER YOUNG rushes in. Next to his BED is a CONSOLE with MONITOR. Roger Young inserts the PAGING TUBE he's holding into the console. The monitor snaps on. Filling the monitor is a ROTHAXI COMMUNICATIONS OFFICER.
ROTHAXI OFFICER
Roger Young, the bane to our race. Your days are numbered.
ROGER YOUNG
How did you find my frequency, you lummox?
ROTHAXI OFFICER
That is of no consequence. We know that and soon will know your location. And wherever you are, we shall hunt you down and avenge our fallen men.
ROGER YOUNG
Fat chance, sleezardo!
ROTHAXI OFFICER
One of our soldiers injected a shell into you at black ops base. That shell contained a customized techno-virus that emits a weak nuclear pull. By now, that virus should be thriving in your blood stream.
ROGER YOUNG
That bullet that struck me as I ran in the elevator...
ROTHAXI OFFICER
Exactly. And as soon as our astrophysicists detect the anomaly, we'll be able to track your whereabouts anywhere in the universe. You will not be able to hide. And wherever you are, we will hunt you down and avenge our fallen soldiers!
The monitor goes black.
INT. VERONICA V's QUARTERS - NIGHT
VERONICA V's room is painted lavender, and is poshly furnished. VERONICA V is sitting on her well-cushioned BED. ROGER YOUNG is standing by the DOOR.
VERONICA V.
You're leaving? You know you'll forget everything about this place. And me. And just when I feel I can't lose you! Please tell me you're staying!
ROGER YOUNG
Zero base is protecting all those in the Rothaxi's sights, and valuable information. It's the very reason why the memories of those who leave are erased. My presence here risks everyone's lives. If I remain, they will be ruthless. No one will survive. Veronica, I love you.
VERONICA V.
If you love me, you'd stay here with me.
ROGER YOUNG
(pause.) It's because I love you that I must leave.
EXT. PASSENGER STARSHIP - NIGHT - ESTABLISHING
INT. PASSENGER STARSHIP - NIGHT
ROGER YOUNG is the only passenger in the ship. It is a luxury suite for one. Roger Young is seated in a CUSHIONED SEAT, embedded into the WALL. A voice comes through the ceiling-mounted SPEAKER.
ROBOTIC P.A. SYSTEM (v.o.)
Passenger, we are now exiting Zero Base's electro-magnetic field. The change in electromagnetism will shatter your nmeonomizer implant, and all your memories from Zero Base will be deleted. You will experience a physical shutdown for several hours that follow. This is a normal reaction to the shock.
ROGER YOUNG
(To himself.) Veronica, they wouldn't even let me keep a photograph to remember you by. But I guess it makes no difference, since soon I wouldn't be able to recognize you anyway. I asked to be taken to an isolated location where the Rothaxi can hunt me down without putting anyone else in danger. Please, don't ever forget about me.
ROBOTIC P.A. SYSTEM (v.o.)
Exiting magnetic field in three... two... one...
ROGER YOUNG
Good bye, Veronica.
SFX: A frying circuit.
CUT TO BLACK
Last edited by HoldingOurOwn (November 4, 2016 (07:22pm))
Posts [ 201 to 220 of 281 ]
