#1 Loving the Audience
“Because radio is not a visual medium, music, sound effects, and microphone positions are essential parts of the script.” (Hilliard 51) The huge point of the revelation is to know your audience. If you don’t know your audience than how will you be able to write a good script that everyone will enjoy? When writing a script for radio it is very easy to forget about the importance of music, sound effects, and microphones.
#2 MMMMM Beer
Ethics is a huge part of any decision relating to media. A campaign that Hilliard describes is one that many of us as kids are very used to, almost too much so. “A leading beer company wants to expand its market among new young drinkers of minimum legal drinking age, with an emphasis on increasing its share of on-premises (bars, restaurants) consumption.” (Hilliard 72) In this kind of situation in particular ethics plays a major role in what you do. The advertisement of Bud Light was a prime example of this tactic. What are we doing to sensor companies like this from advertising on any station?
#3 Repeaters Like Repitition
One of the biggest things to writing a script is using parts of our power tools. One of these such tools is repetition. "Persuading through, you guessed it, repeating the same image, word, symbols, or phrase over and over. Advertisers use it--"diamonds are___________"--as do polititians: how many times have you heard the phrase "weapons of mass destruction"?" (Dr. W's Four Tool Sets)
#4 You're So Funny
“Writing the variety show, with the comedy that it requires is a special talent that can not be taught – and this book doesn’t attempt to do so.” (Hilliard 303) The reason I picked this quote was because I for one-love variety shows like Whose Line Is It Anyway? Here is one of my favorite clips.
#5 Brooker's Back
The following is part of how an online script looks as done with Dr. W's method.
BROOKER SITTING AT NEWS DESK
"Before long a standard news report, visual language established itself. One that is immediately recognizable to anyone. Me has this report."
CUT TO SHOT OF THREE SKYSCRAPERS
"It starts here, with a lackluster establishing shot of a significant location."
CHARLIE ON A CITY STREET WITH PLAIN FOLKS AROUND HIM
"Next a walkie-talkie preamble from the orator, pacing steadily towards the lens, punctuating every other sentence with a hand gesture, and ignoring all the pricks milling around him like he's gliding through the fucking matrix, before coming to a halt and posing a question. What comes next?"
#6 Research? Come On We're In College
“Learn to do thorough research.” (Hilliard 63) Hilliard basically mentions that it is not just the script that is important; it is the research that is behind it. A good example could be Imus In The Morning. Don Imus is able to have thorough research and be able to throw in comedy as well.
#7 Want To Go For A Nice Car Ride?
Using Emotional Transfer can make or break whatever you are trying to sell. "Individuals construct their own meanings from media. If parents, teachers, students, and citizens are to learn about media, lets honor, discuss and debate each other's meanings." (Dr. W's Four Tool Sets)
#8 Time to Document
Documentaries have interested me for a while now, and Hilliard does a nice job at explaining how good documentaries are. “Some practitioners and critics consider the documentary the highest form of the news and information art.” (Hilliard 194). Here is a trailer for what I consider to be one of the best documentaries.
#9 Miller Man Is In the House
Pacing is quite important to the whole scripting process. How much do you want your viewer to really capture? "TV runs at 30 frames per second (movies at 24). The conscious mind can process about 8 frames per second..." (Dr. W's Four Tool Sets)
#10 Great Man About A Bad Problem
George Carlin is a perfect example of how to use the name calling technique of persuasion. "Persuading with personal attacks that features colorful, offensive, crude and humorous language." (Dr. W's Four Tool Sets)
Thursday, April 21, 2011
Monday, April 11, 2011
JJ Cale and Clapton
FAST FOCUS LOGO WITH HORISONTAL SCROLLING OF THE WORDS “MUSIC SERIES”, IMAGES OF VARIOUS ARTISTS
Intro blues music
SLOW FADE TO FULL SCREEN OF J.J. CALE
J.J. CALE: “It’s a co-produce thing because I played on it, Eric played on it and we’d look at each other and go well that’s not right, and that wasn’t just me sayin’ that’s not right or him.”
CUT TO ERIC CLAPTON, SLOW PAN OVER TO J.J. CALE
CLAPTON: “And actually, I think it’s going to be better for that ‘cause than we’ll both be happy.”
CUT TO PAN OF RECORDING STUDIO STARTING WITH J.J. CALE AND ENDING WITH ERIC CLAPTON
J.J. CALE (CLAPTON OVER J.J. CALE): “We’re trying to make some music that people will like, and that’s what everyone tries to do, and that’s, you know. And sometimes…yeah we’re trying to make music we like, and if we like it chances are somebody else might. We hope.”
Background Music
J.J. Cale and Clapton Playing Nice Guitar Riffs
CUT TO ERIC CLAPTON
CLAPTON: “As hard as I’ve tried, I’ve never really succeeded in making a record sound like him…and that’s what I wanna…I mean before I go under the ground I wanna make a J.J. Cale album with him at the helm.”
CUT TO J.J. CALE RECORDING THEIR SONG DON’T CRY SISTER
J.J. CALE singing the lyrics to Don't Cry Sister
CUT TO J.J. CALE BACK IN RECORDING STUDIO
J.J. CALE: “He’s been trying to get me to sing more, and I’ve been trying to get him to sing more, and I’m winning!”
CUT TO J.J. CALE RECORDING THEIR SONG DON’T CRY SISTER AGAIN
CUT TO J.J. CALE AND CLAPTON SINGING IT'S EASY
TWO QUICK CUTS TO J.J. CALE THAN ERIC CLAPTON
CUT TO CLAPTON
CLAPTON: “Some of those songs are really J.J. Cale, kinda characterized songs sound good when we do it the way…and other, there are others that are more open to any kind of…you know I can interpret them a different way…the way I would normally sing a song.”
Greatest Blues Man Ever Online
FAST FOCUS LOGO WITH HORISONTAL SCROLLING OF THE WORDS “MUSIC SERIES”, IMAGES OF VARIOUS ARTISTS
Intro blues music
SLOW FADE TO FULL SCREEN OF J.J. CALE
J.J. CALE: “It’s a co-produce thing because I played on it, Eric played on it and we’d look at each other and go well that’s not right, and that wasn’t just me sayin’ that’s not right or him.”
CUT TO ERIC CLAPTON, SLOW PAN OVER TO J.J. CALE
CLAPTON: “And actually, I think it’s going to be better for that ‘cause than we’ll both be happy.”
CUT TO PAN OF RECORDING STUDIO STARTING WITH J.J. CALE AND ENDING WITH ERIC CLAPTON
J.J. CALE (CLAPTON OVER J.J. CALE): “We’re trying to make some music that people will like, and that’s what everyone tries to do, and that’s, you know. And sometimes…yeah we’re trying to make music we like, and if we like it chances are somebody else might. We hope.”
Background Music
J.J. Cale and Clapton Playing Nice Guitar Riffs
CUT TO ERIC CLAPTON
CLAPTON: “As hard as I’ve tried, I’ve never really succeeded in making a record sound like him…and that’s what I wanna…I mean before I go under the ground I wanna make a J.J. Cale album with him at the helm.”
CUT TO J.J. CALE RECORDING THEIR SONG DON’T CRY SISTER
J.J. CALE singing the lyrics to Don't Cry Sister
CUT TO J.J. CALE BACK IN RECORDING STUDIO
J.J. CALE: “He’s been trying to get me to sing more, and I’ve been trying to get him to sing more, and I’m winning!”
CUT TO J.J. CALE RECORDING THEIR SONG DON’T CRY SISTER AGAIN
CUT TO J.J. CALE AND CLAPTON SINGING IT'S EASY
TWO QUICK CUTS TO J.J. CALE THAN ERIC CLAPTON
CUT TO CLAPTON
CLAPTON: “Some of those songs are really J.J. Cale, kinda characterized songs sound good when we do it the way…and other, there are others that are more open to any kind of…you know I can interpret them a different way…the way I would normally sing a song.”
Intro blues music
SLOW FADE TO FULL SCREEN OF J.J. CALE
J.J. CALE: “It’s a co-produce thing because I played on it, Eric played on it and we’d look at each other and go well that’s not right, and that wasn’t just me sayin’ that’s not right or him.”
CUT TO ERIC CLAPTON, SLOW PAN OVER TO J.J. CALE
CLAPTON: “And actually, I think it’s going to be better for that ‘cause than we’ll both be happy.”
CUT TO PAN OF RECORDING STUDIO STARTING WITH J.J. CALE AND ENDING WITH ERIC CLAPTON
J.J. CALE (CLAPTON OVER J.J. CALE): “We’re trying to make some music that people will like, and that’s what everyone tries to do, and that’s, you know. And sometimes…yeah we’re trying to make music we like, and if we like it chances are somebody else might. We hope.”
Background Music
J.J. Cale and Clapton Playing Nice Guitar Riffs
CUT TO ERIC CLAPTON
CLAPTON: “As hard as I’ve tried, I’ve never really succeeded in making a record sound like him…and that’s what I wanna…I mean before I go under the ground I wanna make a J.J. Cale album with him at the helm.”
CUT TO J.J. CALE RECORDING THEIR SONG DON’T CRY SISTER
J.J. CALE singing the lyrics to Don't Cry Sister
CUT TO J.J. CALE BACK IN RECORDING STUDIO
J.J. CALE: “He’s been trying to get me to sing more, and I’ve been trying to get him to sing more, and I’m winning!”
CUT TO J.J. CALE RECORDING THEIR SONG DON’T CRY SISTER AGAIN
CUT TO J.J. CALE AND CLAPTON SINGING IT'S EASY
TWO QUICK CUTS TO J.J. CALE THAN ERIC CLAPTON
CUT TO CLAPTON
CLAPTON: “Some of those songs are really J.J. Cale, kinda characterized songs sound good when we do it the way…and other, there are others that are more open to any kind of…you know I can interpret them a different way…the way I would normally sing a song.”
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