Direction & Screenplay

8/4/2019 Direction & Screenplay

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Theories of Story and Storytelling

How have various scholars, psychologists, and

cultures seen stories and storytelling, and how

might their visions be helpful to creators ofanimations, VFX, and games?

What scholar of story, and director of VFX-

filled movies, have had a successful

collaboration in the past?


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ContinuedContinued

Story can be defined as, a series of events.

Storytelling can be defined as, relatinga seriesof events.

Story and narrative mean the same thing.Narrative is simply a more academic termthan story.

In a story, causality is involved in some way(along the lines: A leads to B, B leads toC, Cleads to D, etc).


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Continued.Continued.

Story and storytelling can be considered as types

of play. Anthropology of Play

scholars have posited that three conditions to besatisfied for an activity to be considered as play,are that the activity is done

in a special time

in a special space

just for fun


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ContinuedContinued

Play presents a model of the past, and a model

for the future.

Two kinds of play areArt (which involves creating beauty through

collaboration)

Games (which involves rules and competition)


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ContinuedContinued

A distinction can be made between actual storytelling, andpresenting a story through other mediums.

The difference is that in actual storytelling, the tellers and

listeners can give instantaneous and ongoing feedbackto each other.

Even though making movies (or other recordings, orbooks) is not actual storytelling, we often speak ofcinematic

storytellers. To be most verbally accurate, we might saythat movie makers (and novelists, etc) arepresenting astory.


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Elements involved in storyElements involved in story

Projection, Identification, Empathy,Imitation, and Imagination are importantprocesses when it comes to people and stories.

People project themselves into story characters.

They identify with the characters.

They feel empathy with the characters.

This occurs through the use of the listenersimagination.

The listener may then imitate the character.


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Direction & ScreenplayDirection & Screenplay

The decisive turning points in the history ofThe decisive turning points in the history ofevery art form.uncover what has already beenevery art form.uncover what has already beenthere; they are revolutionary, that isthere; they are revolutionary, that is

destructive and constructive, they compel us todestructive and constructive, they compel us torevalue our values and impose new set of rulesrevalue our values and impose new set of ruleson the eternal game.on the eternal game. -- Arthur KoestlerArthur Koestler

The industry is shit , its the medium thats

The industry is shit , its the medium thatsgreatgreat

-- Lauren BacallLauren Bacall


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Methods of Film DirectingMethods of Film Directing

Directors have different methods of filmingDirectors have different methods of filmingThey areThey are1.1. Outline the general plotline and let the actors improvise the dialogueOutline the general plotline and let the actors improvise the dialogue..

Ex. JeanEx. Jean--Luc Godard, Frederic fellini, Robert Altman.Luc Godard, Frederic fellini, Robert Altman.2.2. Control every aspect and demand that the actors follow instructionsControl every aspect and demand that the actors follow instructions

preciselyprecisely. Such as Steven Spielberg, James Cameron, George Lucas, Alfred. Such as Steven Spielberg, James Cameron, George Lucas, AlfredHitchcockHitchcock

3.3. Write their own ScriptsWrite their own Scripts( Ingmar Bergman, Charles chaplin, woody Allen( Ingmar Bergman, Charles chaplin, woody Allenakira kurasowa, Satyajitray)akira kurasowa, Satyajitray)

4.4. Collaborating on screenplays with longCollaborating on screenplays with long--standing writing partnersstanding writing partners..Like Peter Jackson, Robert ZemmeckisLike Peter Jackson, Robert Zemmeckis

5.5. Be the cinematographer or EditorBe the cinematographer or Editor, like Steven soderbergh, Robert, like Steven soderbergh, Robert

RodriguezRodriguez6.6. Appear in their filmsAppear in their films( Mel Gibson, Subbash ghai, Martin socrcese)( Mel Gibson, Subbash ghai, Martin socrcese)7.7. Compose a music score for their filmsCompose a music score for their films( Charles Chaplin, Clint( Charles Chaplin, Clint

Eastwood)Eastwood)


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Film GenreFilm Genre

ActionAction

AdventureAdventure

ComedyComedy

Crime & GangsterCrime & Gangster DramaDrama

Epics/HistoricalEpics/Historical

HorrorHorror

MusicalMusical Science fictionScience fiction

War (AntiWar (Anti--war) filmswar) films

WesternWestern


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New genreNew genre

AnimationAnimation BiographyBiography DocumentaryDocumentary FantasyFantasy

FilmFilm--NoirNoir GameGame--ShowShow HistoryHistoryNewsNews RealityReality--TVTV


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FilmFilm--LanguageLanguage

Two Prior elements that govern the FilmTwo Prior elements that govern the Film--languagelanguageare theare the Filmic Time andFilmAspect RatioFilmic Time andFilmAspect Ratio..

1.1. Filmic time or the reel time is 24 frames per second,Filmic time or the reel time is 24 frames per second,and it varies in television of 25 frames per second.and it varies in television of 25 frames per second.

2.2. Aspect ratio has a long history as it went throughAspect ratio has a long history as it went throughinnovations from the birth of films.innovations from the birth of films.

3.3. The aspect ratio those were primarily used wereThe aspect ratio those were primarily used were

35mm full screen aperture 1.33:1 and it is also called35mm full screen aperture 1.33:1 and it is also calledAcademy aperture,commonly used in Tv &videoAcademy aperture,commonly used in Tv &video


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1.2:1 35 mm early sound films1.2:1 35 mm early sound films

35mm European standard widescreen 1.66:135mm European standard widescreen 1.66:1


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Two aspect ratios compared ImagesTwo aspect ratios compared Images

4:3(1.33:1) & 16.9(1.78:1)4:3(1.33:1) & 16.9(1.78:1)The Commonly used ratios in the contemporary era.The Commonly used ratios in the contemporary era.


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Film GrammarFilm Grammar

The termThe termfilm grammarfilm grammaris best understood as a creative metaphor, since theis best understood as a creative metaphor, since theelements of film grammar described above do not stand in any strict relationelements of film grammar described above do not stand in any strict relationof analogy to the components of grammar as understood by philology orof analogy to the components of grammar as understood by philology ormodern linguistics.modern linguistics.

D. W. GriffithD. W. Griffith has been called thehas been called the father of film grammarfather of film grammar.. FRAME is a single still imageFRAME is a single still image. It is analogous to a letter. It is analogous to a letter

SHOT is a single continuous recording made by a cameraSHOT is a single continuous recording made by a camera. It is. It isanalogous to a word.analogous to a word.

SCENE is a series of related shotsSCENE is a series of related shots. It is analogous to a sentence.. It is analogous to a sentence.

SEQUENCE is a series of scenes which together tell major part of anSEQUENCE is a series of scenes which together tell major part of anentire storyentire story. It is analogous to a movie.. It is analogous to a movie.


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Script ConstructionScript Construction& Script Types& Script Types

1) Research1) Research2) premise: outline2) premise: outline3) Treatment3) Treatment4) Script4) Script5) Pitch5) Pitch

1)1) SemiSemi--scriptscript -- a script where details are not practical such as a game show or livea script where details are not practical such as a game show or liveTV.TV.2)2) FullFull--scriptscript -- the details are listed including shot types and angles and additionalthe details are listed including shot types and angles and additionalproduction informationproduction information3)3) Split scriptSplit script-- The left column in a two column script usually contains informationThe left column in a two column script usually contains informationabout the camera shot, while the right column contains dialog and music information.about the camera shot, while the right column contains dialog and music information.In a script focusing on dialogue, each character might be scripted to a column.In a script focusing on dialogue, each character might be scripted to a column.4)4) Broadcast style video scriptBroadcast style video script-- short, concise, assertive phrasingshort, concise, assertive phrasing

5)5) Narrative, Documentary, Fiction, nonNarrative, Documentary, Fiction, non--Fiction, AdaptationFiction, Adaptation (eg. book to film)(eg. book to film) 6)6) Concrete to Abstract continuumConcrete to Abstract continuum -- Documentary woud be scripted concretely butDocumentary woud be scripted concretely but

also could be semialso could be semi--scripted. A Narrative might be fully scripted with a more abstractscripted. A Narrative might be fully scripted with a more abstractnature.nature.


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Questions to ask yourself about yourQuestions to ask yourself about your

scriptscript GENREGENRE Does your script fulfill the expectations of its particular genre?Does your script fulfill the expectations of its particular genre? CHARACTERSCHARACTERSAre your characters memorable? Are they larger than life?Are your characters memorable? Are they larger than life? STRUCTURESTRUCTUREDoes it create suspense? What's the big question theDoes it create suspense? What's the big question the

audience will be wondering about throughout the movie?audience will be wondering about throughout the movie? THEMETHEMEWhat is your movie really about?What is your movie really about? RESOLUTIONRESOLUTION Is the Movie satisfying to the very last scene?Is the Movie satisfying to the very last scene? MOMENTSMOMENTSAre there at least four or five memorable moments? Think ofAre there at least four or five memorable moments? Think of

this as athis as a "TrailerMoment""TrailerMoment".. STORYSTORYIt is the point when your Character is forced to solve his/her innerIt is the point when your Character is forced to solve his/her inner

conflict in order to solve the outer conflict.conflict in order to solve the outer conflict. FRESHFRESH Is your script fresh? A new perspective on the human condition.Is your script fresh? A new perspective on the human condition. SECONDARYSECONDARY

CHARACTERSCHARACTERSThey must reflect the conflicts of the main Characters.They must reflect the conflicts of the main Characters.


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Questions???Questions???

These questions might be helpful to ask yourselfThese questions might be helpful to ask yourself

about character before you start your screenplayabout character before you start your screenplay..

Who is your story about?Who is your story about?

What kind of trouble is that person in?What kind of trouble is that person in?

What does your character want and what will yourWhat does your character want and what will your

character do to get it?character do to get it? What is your characterWhat is your character most afraid ofmost afraid of(his/her ghost)?(his/her ghost)?


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LoglineLogline

The logline, as the shortest, most concise summary ofThe logline, as the shortest, most concise summary ofall, may prove the most difficult to realize to yourall, may prove the most difficult to realize to yoursatisfactionsatisfaction

A logline is solely for "selling" purposes: a couple ofA logline is solely for "selling" purposes: a couple ofwellwell--chosen lines used to "pitch" your script tochosen lines used to "pitch" your script toprospective buyers.prospective buyers.

Think about what inspired you to write your script,Think about what inspired you to write your script,

what you most like about it, and what makes it standwhat you most like about it, and what makes it standout from other movies.out from other movies.


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Continued..Continued..

Here are three questions to ask yourself as youHere are three questions to ask yourself as youwrite your logline:write your logline:

1.1.Who is the main character and what does he or sheWho is the main character and what does he or shewant?want?

2.2.Who (villain) or what is standing in the way of theWho (villain) or what is standing in the way of themain character?main character?

3.3.What makes this story unique?What makes this story unique? UseUse actionactionwords when writing your logline. Filmwords when writing your logline. Film

captures the actions of characters.captures the actions of characters.AddAdd descriptive wordsdescriptive words to create an image that will stayto create an image that will stayin the mind of your readerin the mind of your reader


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ExamplesExamples

Dull loglineDull logline: A woman plots to murder her sister.: A woman plots to murder her sister.

Intriguing loglineIntriguing logline: A woman obsessed by jealousy plots to: A woman obsessed by jealousy plots tomurder her sister, who married the man she loves.murder her sister, who married the man she loves.

Dull loglineDull logline: Two lovers plan to flee from their feuding families: Two lovers plan to flee from their feuding familieswho forbid them to marry.who forbid them to marry.

Intriguing loglineIntriguing logline: Two young lovers living in a ghetto defy their: Two young lovers living in a ghetto defy theirfeuding families' ban on marrying and plan an escape thatfeuding families' ban on marrying and plan an escape thatpropels them toward tragedy. story.propels them toward tragedy. story.

Dull loglineDull logline: A woman confronts her past when her illegitimate: A woman confronts her past when her illegitimatedaughter shows up after twenty years.daughter shows up after twenty years.

Intriguing loglineIntriguing logline: A minister's wife confronts her long: A minister's wife confronts her long--buriedburiedpast when her illegitimate daughter shows up after twenty years.past when her illegitimate daughter shows up after twenty years.


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CharacterCharacter

They must beThey must beEM

PATHETI

CEMPATH

ETI

C, have an internal and, have an internal andexternal struggle. They must have anexternal struggle. They must have an arcarc..

VULNERABLEVULNERABLE, they must tell us what their, they must tell us what theirvulnerability is.vulnerability is.

Your character should be anYour character should be an UNDERDOGUNDERDOG...... But also beBut also be LARGER THAN LIFELARGER THAN LIFE..

Give your charactersGive your characters STRENGTHSSTRENGTHS--Something thatSomething thatthey are really good at, but...they are really good at, but...

They needThey need FLAWSFLAWS that could be fatal. Characters withthat could be fatal. Characters withdoubts and faults are more interesting and believable.doubts and faults are more interesting and believable.


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SynopsisSynopsis

A synopsis generally implies something much shorter than the averageA synopsis generally implies something much shorter than the averagetreatment, probably a page at the most.treatment, probably a page at the most.

Unless you have written an extremely basic script a synopsis will have to omitUnless you have written an extremely basic script a synopsis will have to omitmost of the action and focus on the main points. For this reason, somemost of the action and focus on the main points. For this reason, somescreenwriters find composing a synopsis more taxing than writing the originalscreenwriters find composing a synopsis more taxing than writing the original

script. (Imagine trying to sum up the plot of The Godfather or The Matrix

inscript. (Imagine trying to sum up the plot of The Godfather or The Matrix

ina couple of paragraphs)a couple of paragraphs) You can't describe the whole plot in two paragraphs, you will need toYou can't describe the whole plot in two paragraphs, you will need to

emphasize what constitutes the main thread, the story arc that takes audiencesemphasize what constitutes the main thread, the story arc that takes audiencesthrough your movie, and the ways in which this arc develops the mainthrough your movie, and the ways in which this arc develops the maincharacters and the intended theme (assuming there is one). With The Matrix,characters and the intended theme (assuming there is one). With The Matrix,for example, it might be easiest to focus on the journey of the main character,for example, it might be easiest to focus on the journey of the main character,

Thomas Anderson, as he discovers the truth of his situation (that he is livingThomas Anderson, as he discovers the truth of his situation (that he is livinginside a computer program, his real body is being drained of energy byinside a computer program, his real body is being drained of energy bymachines), and claims his power as The One. Everything else would bemachines), and claims his power as The One. Everything else would bedelegated to secondary or peripheral importance, and excluded from thedelegated to secondary or peripheral importance, and excluded from thesynopsis.synopsis.


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The following are points covered in aThe following are points covered in asynopsis of a romance novel:synopsis of a romance novel:

TheEncounter:TheEncounter: How the story opens. Reveal what is at stake for theHow the story opens. Reveal what is at stake for theprotagonists.protagonists.

The Romantic RelationshipThe Romantic Relationship::Why do these two people love one anotherWhy do these two people love one anotherand not someone else? What makes them uniquely right for one another?and not someone else? What makes them uniquely right for one another?

The CentralConflictThe CentralConflict::What keeps the characters apart?What keeps the characters apart? The Chase:The Chase:The drama that arises out of the conflict.The drama that arises out of the conflict. The Obstacles:The Obstacles: People, events, issues or principles relevant to the centralPeople, events, issues or principles relevant to the central

conflict encountered in the chase.conflict encountered in the chase. TheDarkMoment:TheDarkMoment:The great event that tears them even further apart justThe great event that tears them even further apart just

before they can finally reconcile. The dark moment will be a grand obstaclebefore they can finally reconcile. The dark moment will be a grand obstacle

that reiterates the conflict.that reiterates the conflict. The Resolution:The Resolution: How do they get back together again? What makes themHow do they get back together again? What makes them

change internally so that they overcome the central conflict and all thechange internally so that they overcome the central conflict and all theobstacles they've encountered?obstacles they've encountered?


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Other genres will have different elements,Other genres will have different elements,but the purpose and layout of a synopsisbut the purpose and layout of a synopsiswill be similar. In a mystery novel, forwill be similar. In a mystery novel, for

example, the romantic relationship mightexample, the romantic relationship mightbe replaced by the progression of the crimebe replaced by the progression of the crimeand the investigation. In a technoand the investigation. In a techno--thriller,thriller,the dark moment might be when thethe dark moment might be when theprotagonist believes he is too late to stopprotagonist believes he is too late to stopthe launching of the nuclear missile.the launching of the nuclear missile.


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PlotPlot FADE IN:FADE IN:

Between pages 1Between pages 1--5:5:TheThe HOOKHOOK, something that grabs our attention and pulls us in., something that grabs our attention and pulls us in.

Page 10:Page 10:At this point in your script you should have theAt this point in your script you should have the "MINI CRISIS"."MINI CRISIS".TheThe "MINI"MINICRISIS"CRISIS" should lead us into...should lead us into...

Page 17:Page 17: ...The...The DILEMMA.DILEMMA. Creation of the team and what the movie is about.Creation of the team and what the movie is about.

Page 30:Page 30:TheThe REACTIONREACTION to the dilemma or situation.to the dilemma or situation.

Page 45:Page 45: FirstFirst "REVERSAL""REVERSAL" of the 17 minute point. This point furthers the characters andof the 17 minute point. This point furthers the characters andpushes them deeper into the situation or the dilemma.pushes them deeper into the situation or the dilemma.

Page 60:Page 60:TheThe "TENT POLE""TENT POLE" of the movie. Where the passive characters become active orof the movie. Where the passive characters become active orvice versa.vice versa.

Page 75:Page 75: SecondSecond "REVERSAL""REVERSAL" to the 17 minute point. To reaffirm what the story is about.to the 17 minute point. To reaffirm what the story is about.

Page 90:Page 90:TheThe LOW POINTLOW POINT of action. The place from which our main character has to rise upof action. The place from which our main character has to rise upfrom.from.

FADE OUT.FADE OUT.


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PitchPitch

In addition to the Who, What , Where, When, How etc focus onIn addition to the Who, What , Where, When, How etc focus onthe following:the following:1) Who is the production about1) Who is the production about -- most interesting charactermost interesting character2) Where is that character2) Where is that character -- emotionally, physically, mentally...emotionally, physically, mentally...

3)Crises and transformations emphasizing conflicts3)Crises and transformations emphasizing conflicts4) Obstacles and Adversaries4) Obstacles and Adversaries5) What is at stake?5) What is at stake?

Then include:Then include:

6) Genre of production and the market/ marketability6) Genre of production and the market/ marketability

7) Star qualities that are of interest. Does the director want big7) Star qualities that are of interest. Does the director want bignames?names? -- does a big name suit your production?does a big name suit your production?


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The TreatmentThe Treatment

A treatment is generally more inclusive than a synopsis (whichA treatment is generally more inclusive than a synopsis (whichcondenses the story into a few paragraphs), and also morecondenses the story into a few paragraphs), and also moredramatic.dramatic.

Its purpose is to create curiosity and enthusiasm for your scriptIts purpose is to create curiosity and enthusiasm for your script

while describing the basic elements: leading characters, keywhile describing the basic elements: leading characters, keyscenes, overall storyline, mood, tone and/or genre of the piece,scenes, overall storyline, mood, tone and/or genre of the piece,and any themes to be developed or explored.and any themes to be developed or explored.

A treatment is allowed to speculate (or fantasize) about how theA treatment is allowed to speculate (or fantasize) about how thefinished movie might look, to discuss the overall effect you arefinished movie might look, to discuss the overall effect you areshooting for, and to dramatize, not just describe, the action.shooting for, and to dramatize, not just describe, the action.

This is mostly a matter of taste, however; some treatments areThis is mostly a matter of taste, however; some treatments arejust highly detailed synopses.just highly detailed synopses.


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With all of these formsWith all of these forms--treatment, synopsis, andtreatment, synopsis, andloglinelogline-- you will want to focus on those elements thatyou will want to focus on those elements thatare most exciting, challenging, intriguing and original inare most exciting, challenging, intriguing and original in

your script, taking care to place them in a context (thatyour script, taking care to place them in a context (thatof genre, for example) that is both familiar andof genre, for example) that is both familiar andaccessible to the reader, so reassuring them that youraccessible to the reader, so reassuring them that yourscript is "marketable.".script is "marketable.".

At the bottom line of every movie deal, after all, is theAt the bottom line of every movie deal, after all, is the$,Rs sign$,Rs sign


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Basic list of how your script should beBasic list of how your script should beformattedformatted

TypefaceTypefaceAlways useAlways use Courier 12Courier 12--point fontpoint font

MarginsMargins Because of the 3Because of the 3--hole punched paper, thehole punched paper, the LeftLeft margin should be 1.5 inches and themargin should be 1.5 inches and theRightRight is .5 inches.is .5 inches.

Top and BottomTop and Bottom should be 1 inch each.should be 1 inch each.

DialogueDialogue --2.5 inches from the left2.5 inches from the left-- will be about 3 to 3.5 inches wide and shouldn't extend morewill be about 3 to 3.5 inches wide and shouldn't extend morethan 6 inches from the left.than 6 inches from the left.

Character's NameCharacter's Name at 3.7 inches and above the dialogue.at 3.7 inches and above the dialogue.

Page NumbersPage Numbers should be located in the upper right hand corner and then double space andshould be located in the upper right hand corner and then double space andcontinue writing.continue writing.

First PageFirst PageA screenplay begins withA screenplay begins with FADE IN:FADE IN:

Last PageLast PageAt the end of your script you should typeAt the end of your script you should type The EndThe Endand center it, or double space, toand center it, or double space, tothe far right of the page, and typethe far right of the page, and type FADE OUT.FADE OUT.


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Camera MovementsCamera Movements

DollyDolly--When the entire camera is moved toward or awayWhen the entire camera is moved toward or awayfrom the subject.from the subject.zoom, which is an optical version of a dolly, achieveszoom, which is an optical version of a dolly, achieves

somewhat the same effect.somewhat the same effect.TruckTruck-- lateral movement (leftlateral movement (left--right of subject)right of subject)Cuts or takes are instant transitions from one videoCuts or takes are instant transitions from one videosource to another.source to another.Cover shot and establishing shot are designations for aCover shot and establishing shot are designations for a

wide shot (WS) or a long shot (LS). This type of shotwide shot (WS) or a long shot (LS). This type of shotgives an audience a basic orientation to the geographygives an audience a basic orientation to the geographyof a sceneof a scenewho is standing where, etc.who is standing where, etc.


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ShotsShots

ExtremeExtreme--closeclose--upup

CloseClose--upupMedium CloseMedium Close--upupMedium shotMedium shot

Long shotLong shot


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ContinuedContinued

A twoA two--shot or threeshot or three--shot (also 2shot (also 2--S and 3S and 3--S) designates aS) designates ashot of two or three people in one scene.shot of two or three people in one scene.The term subjective shot indicates that the audienceThe term subjective shot indicates that the audience

(camera) will see what the character sees.(camera) will see what the character sees.A canted shot or a Dutch angle shot is tilted 25 to 45A canted shot or a Dutch angle shot is tilted 25 to 45degrees to one side, causing horizontal lines to run updegrees to one side, causing horizontal lines to run upor down hill.or down hill.camera goes withcamera goes withto indicate the camera moves with ato indicate the camera moves with a

person or object;person or object; reverse anglereverse angleto indicate a near 180to indicate a near 180--degree shift in camera position; anddegree shift in camera position; and shot widensshot widensto signalto signala zoom or dolly backa zoom or dolly back


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EXT and INTEXT and INTdesignations commonly listed in film scripts to indicate exterior anddesignations commonly listed in film scripts to indicate exterior andinterior settings.interior settings.SOTSOTsoundsound--onon--tape. This indicates that the voice, music, or background sound willtape. This indicates that the voice, music, or background sound willbe from the audio track of a videotape.be from the audio track of a videotape.SOFSOFsoundsound--onon--film.film.VTRVTRvideotape, videotape recording.videotape, videotape recording.

VO (voice over) refers to narration heard over a video source. It can also refer toVO (voice over) refers to narration heard over a video source. It can also refer tonarration heard at a higher level than a source of music or background sound.narration heard at a higher level than a source of music or background sound.OSVOSVoffoff--screen voice. The voice indicated on the script is from a person who is notscreen voice. The voice indicated on the script is from a person who is notvisible.visible.MICMICmicrophone (pronounced "mike")microphone (pronounced "mike")POVPOVpoint of view. Dramatic scripts will often note that a shot will be seen from thepoint of view. Dramatic scripts will often note that a shot will be seen from thepoint of view of a particular actor.point of view of a particular actor.OSOSoverover--thethe--shoulder shot. The picture shows the back of one person's head andshoulder shot. The picture shows the back of one person's head and

possibly one shoulder. (These are also designated as O/S and X/S shots.)possibly one shoulder. (These are also designated as O/S and X/S shots.)KEYKEYthe electronic overlay of titles and credits over background video.the electronic overlay of titles and credits over background video.SFX or F/XSFX or F/Xspecial effects. These may be audio special effects (audio FX) or videospecial effects. These may be audio special effects (audio FX) or videospecial effectsspecial effectseffects that alter reality and are created in the production process.effects that alter reality and are created in the production process.

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Direction & Screenplay