'Joker' (2019), con Joaquin Phoenix

#1829 aunque discrepo, solo por el curro tienes manita

#1896 joder le das la opción de elegir a ella estaba claro que iba escoger, entre ver a Brad pitt en una aventura espacial u ver a un tal juanito encarnando a un payaso

Me parece que algunos aqui tienen 0 intuicion, impresionante.
Que por cierto este joker y el de Nolan, se parecen un huevo, tiene un monton de referencias al de ledger.

#1901 Vamos, otro critico mas a la que la pelicula le ha parecido pretenciosa

#1903 Es mala porque mete todo lo bueno que tenian las pelis en el pasado y claro asi es super facil hacer una buena pelicula, claro se vale de trucos hace trampa. Menudo nivel.

#1901 Pues en general de acuerdo con la crítica el guion es sidita del bueno.

A mí me ha molado bastante, un 8 que si volviese a ver subiría a un 8.5/9 sin dudar. Frases muy buenas y escenas bien llevadas, una buena película que recomendaría a cualquiera. Al principio un pelín lenta, pero es necesario para situar el contexto. Bien llevada y con un desenlace muy bien puildo. Sí señor, así me da gusto ir al cine joder.

La actuación del tío 10/10 y los detalles de poner texto en español muy buen detalle por parte del equipo de edición. Además de que la risa en español pusieron la original en inglés.

#1911 Hay que reírse pero eh que no hay parcialidad en la crítica estadounidense cuando concierne a DC

Películôn. Volveré para verla en vos.

#1912

A mi me ha gustado mucho y sí que hubo un momento en el que me pareció lenta, pero enseguida empezó a venir la preparación para el final y se me pasó

#1901 Roza lo vergonzante.

Os cuelgo la lista de Truby, por si a alguien le interesa aprender a analizar un guion (al margen del montaje, dirección, iluminación, y todos esos elementos que este usa para decir "se ve bien pero está mal porque yo pienso que está mal").

https://lukejames7.wordpress.com/scriptwriting/22-steps-notes/

1. Self-revelation, need, and desire
   This is a fairly simple step but important to get right. Failure to secure all three of these will result in not knowing which direction your story is going.

2. Ghost and story world
   This step in scriptwriting is figuring out the protagonist’s “ghost” and “story world”. The ghost is an issue from the protagnist’s past that still haunts them, perhaps causing an internal struggle for them. The “story world” is then showing the audience what an average day for our main character would look like.

3. Weakness and need
   The weakness or problem is the difficulty that the hero has at the start of the story. The need is what our hero needs in order to live a better life. In a large amount of stories this is a wife/girlfriend

4. Inciting event
   The inciting event is generally quite noticable in the film. It’s the action that breaks the hero’s “story world”. For example in the film Taken, the kidnapping of his daughter would be the inciting event.

5. Desire
   This is what drives the story. The plot of the story is generally focused on the hero’s desire.

6. Ally or allies
   Using an ally is a way various scriptwriters define their protagonist. Allies can come in more or less any form, whether it’s friends, peers or someone that gives advice to our hero.

7. Opponent and/or mystery
   The opponent is fairly straight-forward. The opponent is the person with the ability to attack the hero’s weakness displayed earlier on. The mystery can also be the unseen opponent. It is also known that detective stories need a mystery as they have a lack of an enemy

8. Fake-ally opponent
   The fake ally is a charcter in the story that appears to be an ally but ends up being an opponent in the story. For example in The Dark Knight Rises Fake-ally opponent would be Talia-Al-Ghul.

9. First revelation and decision: Changed desire and motive
   This is often known as the first turning point in the film and is where the hero receives some new information or makes a decision that taken them in a different direction.

10. Plan
    The plan is the hero’s means of fulfilling his/her desire. The plan doesn’t always have to go spot on, if it did it would make for a boring film. An unseen flaw in the plan or an opponent’s action could change the plan. This change should be intended to shock or surprise the audience

11. Opponent’s plan and main counterattack
    The opponent then comes up with a plan to counteract the hero’s and stop the hero from fulfilling their desire.

12. Drive
    The drive is the guideline of the story, the actual steps that the protagonist takes within the plan. It is very easy to simply repeat yourself for the drive so it is important to take care not to

13. Attack by ally
    This is also fairly noticable in many films. This is the section where the hero goes awry, steers from his orginial motive or tries to short-cut to get to his desire. This is usually the section where the hero receives a slap across the face.

14. Apparent defeat
    Apparent defeat is when the hero is about to give up. When all hope is lost, there is no way out of their predicament. It is the low point of the story where the hero is certain that the opponent will come out victorious.

15. Second revelation and decision: Obsessive drive, changed desire and motive
    This is when the hero realises that where they went wrong and decides to give it another shot. The hero has renewed interest in their desire.Their perspective on the desire may have changed

16. Audience revelation
    This is when the audience sees something that the hero doesn’t and learns a vital piece of information. Thi is typically when the audience learns a piece of information before the protagonist

17. Third revelation and decision
    This is when our hero learns all they can, making them a more worthy opponent against the opponent and able to beat them.

18. Gate, gauntlet, visit to death
    This is typically the last sacrifice the hero will have to make for their desire. The hero may also go through a final test before their battle.

19. Battle
    The final battle between the hero and the opponent. This step is in most films made and is a chance for the writer to clearly distinguish what the hero and opponent are fighting for. This is to show who will come out on top

20. Self-revelation
    The hero finally learns what they have been doing wrong and how to do things successfully. It is something the hero did not understand until that moment

21. Moral decision
    This is the hero then acting on what they have just learned. The hero must make the decision to do the moral thing. This may be the hero dying a noble death

22. New equilibrium
    This is finally everything returning to normal, similar to the “story world” shown at the start.

A defensores y contrarios, os invito a repasar los puntos aplicándolos a Joker