What Writers Get Wrong With Worldbuilding - Anthony DiBlasi
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- čas přidán 15. 05. 2024
- In this Film Courage video interview, we ask Anthony DiBlasi his thoughts on worldbuilding in a screenplay or story.
Anthony DiBlasi graduated film school at Emerson College in Boston MA. Upon moving to Los Angeles he became a protégé of filmmaker/novelist Clive Barker. DiBlasi partnered in Barker's production company Midnight Picture Show for nearly ten years, serving as a key executive & producer on films such as "Midnight Meat Train" (2008) and "Book of Blood" (2009). DiBlasi made his directorial debut with the psychological thriller "Dread" (2009), a feature film he wrote based on the Clive Barker short story of the same name. "Dread" was released theatrically in January of 2010 and went on to win Best Independent Feature at the 2010 Spike Scream Awards.
He directed and co-wrote "Last Shift" a critically acclaimed supernatural horror film released by Magnolia Pictures in 2015. And directed "Extremity" a psychological thriller based on Extreme Haunts, released in 2018 by Epic Pictures.
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Creating the World first will allow for more organic characters to populate your World, as people are shaped by their environments, however, if you're writing a character-based story then your main protagonist/antagonist can be your starting point
Which do you enjoy more... developing characters or building a story world?
I dunno if I could honestly answer either-or. One always tends to lead into the other, and answering questions about one - "does _this_ exist in this world" or "how would _this_ character react at _this_ point" - to intersect with the other, that's where stories begin. Like, that's the germination point. I enjoy that intersection.
Developing characters come easier for me so by default I guess I enjoy that more but I do care a lot about the world/universes I create and thus desire to get better at world building.
Both! The world of the characters influences the characters (and story) and visa versa...
Character first and foremost. So many times characters can surprise me in their development because they will tell me who they are and what they say and do. That's when you know the work is true- the characters tell the writer who they are instead of just being puppets pushed around by the writer
It could also depend if you want your lead character to 'discover' the World around them, or if it's just background to the plot. In most cases 'The World' is a minor, or major character in the story, so it's important how they interact with each other
This is great knowledge and information from Anthony DiBlasi. He certainly knows how to build worlds which I found out when I worked with Mr. DiBlasi on "Malum" as Officer Hudson. It was quite a magic trick to turn that set into the horrific and terrifying moments that ended up on camera. Kudos to him and the team.
6:00 This is a Great point and made me think that even if you set your movie on a boat, the actors would still want to know about the outside World! More information adds depth of character.
1:43 This is something that's a reeeeeal fine line to walk. The world has to be unique enough without being alienating the audience (who doesn't know the terms the characters are using), so the terms can't be too abstract and sound SO alien, or the audience loses track of them all - but then they can't sound like everything from modern day, as then it'll sound like we're in the present day.
It's a VERY hard concept to get correct, imo. That's not to mention the balance of overexposing, as well.
Star Wars did it excellently because the names of the factions were also their descriptions: "the Rebel Alliance" "the Galactic Empire", the audience knows what they are right off the bat, without even meeting or hearing from the characters. Same with Star Trek, now that I think about it.
Developing character i build atory around characters
The mornic use of DEI has proven to be the death of most fantasy/historical world building. A world needs to make sense. It needs to give you a sense of time, place and 'reality'. Game of Thrones did DEI extremely well (you immediately knew where you were) the Witcher, Rings of Power and The Wheel of Time destroyed their worlds When even the tiniest hamlets in the most remote mountain vale, desert or swamp is more diverse than LA and every single race, continent, nation, people, city, town, family unit looks exactly the same the world loses it's credibility and meaning. You have no clue where you are half of the time. You can use DEI in fantasies, it enriches the story (most fantasies encompass vast territories (including the Witcher, Rings of Power and the Wheel of Time) or simply create diverstity naturally in capital cities or large harbour towns), just be smart about it But common sense is apparently something most people from Hollywood lack these days,
SF (or a well-crafted steampunk story like for example Arcane) is of course a totally different story