yazik.info Livros Tamil Film Script Pdf

TAMIL FILM SCRIPT PDF

Sunday, May 19, 2019


Thiru Thiru Thuru Thuru - tamil movie script - Free download as PDF File .pdf), Text File .txt) or read online for free. 'Thiru Thiru Thuru Thuru' tamil movie script. Can we write a Tamil movie script in Tanglish (Tamil and English)? It is really tough to get a pdf or any format of the Tamil movie script either online or offline. Tamil Movie's Screenplay, Chennai, India. K likes. All scripts on this site are educational purposes only.


Tamil Film Script Pdf

Author:ISABELL LANDRUS
Language:English, Spanish, Arabic
Country:Micronesia
Genre:Art
Pages:227
Published (Last):29.04.2015
ISBN:744-3-37920-201-4
ePub File Size:23.83 MB
PDF File Size:10.56 MB
Distribution:Free* [*Register to download]
Downloads:49724
Uploaded by: ROSITA

(Feature Film). Language - Tamil. (Written by) DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF PDF / TXT (Available to V.I.P. members. 'Thiru Thiru Thuru Thuru' Tamil Movie Script. Thiru Thiru Thuru Thuru is an To read the whole book, please download the full eBook PDF. If a preview doesn't. FOR MOVIE SCRIPTS IN ANY INDIAN LANGUAGE * ALSO SCREENPLAYS, However, in the scene as it appears in the movie, this composition was altered.

He gazes She makes a face. He snickers. Waste of effort! He is silent She comes near and looks straight at him. She is about to ask him more He pretends to hear something. He pan ics an d rus hes ou t of the ro om. A rch ana co me s f rom th e opposite side with the baby just as fast and almost dashes him. He signals her to hide inside. She is not so sure.

Arjun tip toes to the door and peep s th roug h th e ey e ho le. A r ju n s lo w ly o p en s t he door, carefully blocking the view. Hi George Hi Kevin George looks very annoyed. Kevin is staring at him. Kevin tugs his arm! George frowns His wife Stella comes out with Kevin's lunch.

Hi Arjun smiles Bye George Arjun tries to close the door. George springs forward and holds Arjun by the towel around his neck. A rj un t ri es t o ac t normal during the tugging. The neighbors are still arguing. They all glue their ears to the door. T he neighbours immediately compose themselves and move back. Arjun covers the doorway tighter KEVIN voice clear' Suddenly the baby also whimpers Arjun panics.

George, Stella and Kevin exchange looks. Archana tries to cajole the baby. Archana is tensed. Arjun blinks like a thief caught red-handed. The neighbours wait for his response. KEVIN night? Discovery channel' TV' Arjun nods They leave He closes the door and heaves a big sigh.

Archana somehow finds this all funny. A fe mal e m od el is car ryi ng ba by Son a and po sin g for the camera. The dire ctor say s cut. A rchana c omes and takes the b ab y fr om t he m od el. We s ee Ku ma r bo mb ar di ng A rj un w it h details regarding the shoot. KUMAR last KUMAR paper' plan , exact' screen' ARJUN sir KUMAR shoot? I'll come around 2 or 3 in the afternoon But ' Arjun KUMAR sir He leaves.

Srinivasan is still holding on to his chest. Srinivasan looks at Archana holding the baby and goes there. Looks around Arjun? Legal matter' ARJUN boss ARJUN slip Doctor complete bed rest Malaysia, Singapore' shows arrange Archa na t hrow s a star e.

J ust then Deva wal ks i nto the set. He is in uniform. Arjun runs to him. Srinivasan sees the cop in the uniform and hurries to them. Arjun and Deva exchange looks. Deva blinks. Deva now throws a frown. Arjun signals for forgiveness. Arjun looks away. Srinivasan leaves. Archana comes to them. DEVA Sim card trace Bangalore number Sarala' register T he y s ta rt walking.

Engineer' wife'. The se curity guard is at his booth. Archana covers her face with her duppatta. She nods and hides. He silently takes his bike inside and parks it in a c orn er , b ut acc id ent ly pre sse s the ho rn bu tto n w hic h gives a loud sound. Arjun also screams. The guard stops and holds his chest. Archana slowly starts tiptoeing towards the stairs.

ARJUN colony' Rajesh Kumar' He sm iles cro ss-e yed. A rjun is stil l tr ying to invent a genuine conversation. Archana speeds up. Arjun blinks.

TAMIL MOVIE SCRIPTS

ARJUN '? From a distance Archana turns to check if everything is alright. He f reez es.. Arjun sn ickers t o himsel f, then helps th e guy ba ck to hi s seat and hurries away. He ta kes his mobi le..

She take s he rs. We can see them slightly. He starts groping towards the kitchen She follows him. She come s into t he kitch en.

He's standin g on a s mall sto ol and opening some old cardboard boxes from the top shelf. ARJUN class He ca tche s her. The re's a mo ment of you-know-what.. Just then the power comes back. He drops her on the floor and rushes to the hall.

She gathers herself up and asks ARJUN current He de sp er at el y se ar ch es f or t he re mo te , fi nd s it i n a cl ot h pile, crashes on the couch and switches the TV on.

Shooting time' I'm tired T he y start t usslin g the remote like kids..

Ca rtoon Network She is a p erfection ist. He i s a lazy slob. She is punct ual. He is always late. She is a nea tness and cleanlin ess freak. S he rearranges his furniture. He gets pissed and they start fighting.

They start fighting and arguing all the time. Mea nwh ile th ey ha ndl e t ir ing sh oot s, Ku mar 's fin ic ky dem and s and Srinivasan's possible heart-attacks.

Arj un's act ivities also aro use susp icion. One day Arjun comes back and realizes Archana has held a colony meeti ng a nd e xpla ined eve ryth ing t o th e ne ighb ours. Th ey l ove her. He hates the fact that they love her. He signals Archana She spri ngs up, takes th e baby a nd the b aby thin gs and h urries to hide somewhere inside.

Arjun opens the door. He comes inside and goes straight to the fridge for some water. Car tyre puncture Srinivasan takes a bottle of water and continues walking around th e h al l c as ua l ly. Ar c ha na is trying to breathe inside a closed cupboard. He no tice s a hair ban d on the couc h Arjun quicky picks it up and wears it around his wrist.

He sits on the couch and drinks some water. He notices a baby's diaper packet. Right now, Archana is very very angry with her father. Ar ju n kee ps p re te nd in g that those items belong to him Notices a small brush that is used to apply makeup.

Wh ic h re ad s 'download milk, eggs, bread, sugar and whisper' sanitary napkin. Arjun pan icks, gra bs th e st icky note and hide s it. Sri niva san smiles mischievously. It's ok. It's ok He opens t he door n ext to hi m thinkin g it is t he room d oor but it is a ctually the do or of a cupboa rd. He sees Ar chana crouching and hiding between the clothes. Arj un re aliz es t hat Arch ana h as k ept the baby safe in the next room. Srinivasan steps back. He seems to have 'presumed' something!

He hu rrie s ou t. A rcha na g ets too s care d, w orri ed a nd a nxio us. She tries to run out. S r in i va sa n g e ts embarrassed. Ar j un holds her tighter, waits until Srinivasan is gone and only then lets go of her.

Archana follows him. He's a perfect gentleman What do you mean? He sta rts la ug hin g h yst er ica lly First of all, Archana is pissed! He stops She is s hocked out of her wits Tears start filling up her eyes.

She h olds her hand in f ront of h im s igni ng no t to say anot her word. This is inten se! She i s badly h urt and h e never i ntended to hur t h er lik e t hat. H e picks it up. DEVA Arjun DEVA Sunshine hospital' Missing men, women, children' case' He runs it in fast-forward Arjun and Archana peer at the monitor.

They see Sarala, dressed as a nurse, walking in a corridor and attending to people. Arjun and Archana are confused. In the video, they see the mot her and father pan ick ing an d sea rch ing d esp era tel y f or th e b aby , alo ng wit h other hospital staff. Arjun and Archana look at each other and then at baby Sona They have a kidnapped baby in their hands She smiles She goes out.

Two seconds later, Kumar comes in. I just had one They take their seats. Kumar looks at Srinivasan's face. I am at your service So, 17' MD chennai' It's very very important.

I'll take leave Arju n opens his mout h to say somethi ng but st o ps. Be tw een ea ch ot her , t her e are occasional glances of confusion and worry Finally, the baby breaks the silence Both get up at the same time and go towards the baby.

Arjun 's m obil e ri ngs and save s him fro m th e aw kwar dnes s Archana picks up the baby and cajoles her. Srinivasan is at the agency Husband '? Archana places the baby on the sofa and looks at Arjun Arjun and Archana exchange worried looks. Arjun's he art sinks He sa ys bye, c uts the c all and l ooks at Archana. T hey are s till unab le to tal k to each other.

H e comes and sits beside the baby He kisses her. Archana also comes and sits in front of her Deva , complaints list' , phone easy' Arj un w on de rs. Silence f or a few seconds. She turns to him with a confident look. In several jump cut shots, we see Arjun and Archana going through the hospital security videos meticulously to find any clues the cops may have missed They see patients, doctors, nurses and compounders walking, talking and doing their usual daily work.

They also see Sarala working like a normal nurse two days before the kidnapping. Couple of hours go by. Arjun is starting to doze off. Archana is getting tired too In camera 3, just before the kidnapping, at another floor, a compounder passes looks with Sarala and signals her something, to which she nods Archana's eyes become wide She takes another disc which says c amera 2, rew inds a nd see s the compounder talking to a guy.

She tugs Arjun's shirt and wakes him up. ARJUN sight Sarala, 3rd floor' room' ARJUN criminal? Ar chana is sitt ing behi nd h im w ith the baby. ARJUN hospital'.. ARJUN incident They stop at a tra ffic sign al.. Righ t be side Arch ana's fat her Lo g an a t ha n 's c ar. She notices her dad and panicks. Signal break!! They as k anot her co mpound er 'ca sually ' for this o ne by describing his height, age etc Finally they spot him walking with some files in the hand.

NURSE doctor He 'signals' something to her Arjun and Archana exchange looks. H e l ook s left an d righ t to c heck i f anyo ne is watchi ng the m and 'signals' them to follow him. They do. He takes them th rough th e corrid ors and staircas es, care fully, checkin g occa ssiona lly if anyon e is n oticin g them.

F ina ll y he f in ds a c or ne r wh er e they are 'alone' and 'signals' them to start. He takes a hard look at the photo He signals something. They are not quite able to catch it Ar ju n pu ll s Archana aside ARJUN clue As he signals, they both try to think of all kinds of words and 'interpret' Arjun and Archana realize they are wasting their time. Pra tap's r oom. An other compounder passes by Pratap room?

Arjun and Archana look at each other with disappointment. ARJUN phone number, address? She 'hints' him.

They walk off Pratap's room, a security camera and another door which says "Admission Restricted". Archana with the baby peeps into the security room. The guyin-charge Khaja is eyeing the monitor showing live footage from several security cameras. Noticing the way he admires his new uniform and arranges stuff on his desk lovingly, Archana gets a hint that he may be a newly appointed staff. She enters. Visitors allowed Patients' allowed Archana notices in one m onitor t hat Arju n is lin gering o utside Dr.

Pratap's room. She tries to distract Khaja. He panics and runs out Arjun is insi de P rata p's room. He star ts s noop ing thro ugh the doctor's draws, cabinets and files. Archana c al l s A rj u n' s mobile. He jumps up in fright hearing the sound. So, information Khaja comes back She cuts the phone and takes the water bottle from him. Arjun ruffles through several old files, sealed inside a cardboard box and finally finds a photograph. It shows Pratap and Sarala, laughing and having a drink together.

P ratap's House. It is locked. Pratap i s speakin g to some female co-worker on his phone via bluetooth. Jeyanthi seems bugged! Pra tap 's pho ne rin gs. Je yan thi g ets ir rit ate d. Bef ore Pr ata p can pick it up, she pounces on it. Next week call. Archana hesitates? Jeyan thi fumes wit h ang er, cuts the phon e and sta rts f ight ing with Pratap.

Archana is worried. He tries to push the back door but it doesn't open. She hits h er head. He finds a loose w indow, pu shes it o pen and jum ps in. He si gna ls her an d s he st art s c lim bin g t hro ugh th e window, cl umsily She s tumbles for a seco nd T hen they reco ver.. Th ey pee p o uts ide th e window and see Pratap and his wife coming back home. PAN IC. The bab y cra wls under a b ed.

They too crawl beh ind her and hide. Pratap is trying to pacify her. Jey ant hi thr ow s t he sui tc ase on th e b ed an d s tar ts un pac kin g Pratap's clothes. All this while, Arjun and Archana are hiding, trying their best no t t o ma k e a s ou nd. So th ey are more miserable than one can imagine Arjun and Archana look at each other. Archana takes a small no tepad an d pen fr om her p ocket an d gets ready to take 'notes'.

They continue fighting Archana shrugs Arjun gets an idea. Initially she doesn't Arjun takes it back and tries to keep it in many other places, whereever she moves or possibly looks at. He also needs to make sure that HE doesn't get spotted during that. Bad luck Jeyanthi does not see the photo but she seems to be getting convinced by Pratap.

Meanwhile Arjun notices that the baby is crawling away from the bed and crawls behind her. Archana notices some dust under the bed and then involuntarily begins to sneeze Pratap blinks Archana sneezes again. P ratap an d Jeyant hi kneel down an d spot her blinking like an idiot. Jeyanthi turns to Pratap and throws a burning glare implicating her husband S itting on the sofa and conv ersing.

Pratap is holding the photo of him and Sarala and explaining. Pondicherry' Jamal Medical College' conference' Arjun listens. Archana notes down the information. He looks annoyed. She com es an d ha nds over a glass of buttermilk to him. Ba by i s sleeping now. Hotel Pondicherry ARJUN office boss excuse Keerthi inform He stares at his mobile It starts ringing Srin iva san si gna ls a nd ple ads wi th Kavi tha no t t o s ay anything HER E..

A rju n smi les Archana signals and asks him 'WHAT? In this case, the girl's feet are almost at the bottom of frame, and her head is almost at the top. Obviously the subject doesn't take up the whole width and height of the frame, since this is as close as we can get without losing any part of her.

The small amount of room above and below the subject can be thought of as safety room - you don't want to be cutting the top of the head off. It would also look uncomfortable if her feet and head were exactly at the top and bottom of frame. As with most shot types, the wide shot means different things to different people. However the wide shot seems to suffer more from varying interpretations than other types. Many people take the WS to mean something much wider than our example, i. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention 4.

In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen. MS Mid Shot Shows some part of the subject in more detail whilst still giving an impression of the whole subject. The mid shot shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject.

In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. You wouldn't be paying any attention to their lower body, so that part of the picture is unnecessary. The MS is appropriate when the subject is speaking without too much emotion or intense concentration. It also works well when the intent is to deliver information, which is why it is frequently used by television news presenters.

You will often see a story begin with a MS of the reporter providing information , followed by closer shots of interview subjects providing reactions and emotion. As well as being a comfortable, emotionally neutral shot, the mid shot allows room for hand gestures and a bit of movement. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors the two shot , or with dexterity three the three shot.

Close-up CU : A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. This shot shows the face more clearly, without getting uncomfortably close. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy.

10 thoughts on “Sample Film Scripts”

In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance.

Note that in western cultures the space within about 24 inches 60 cm is generally felt to be private space, and BCUs may be invasive. Storyboards can help to quickly convey what a director wants a scene to look like. You don't need to be a sketch artist in order to get your point across! What kind? Will the characters move? Will the camera move? Draw a second box and sketch how you want the shot to look when you cut the shot. Again, keep it simple, don't try to draw everything in your shot- just the items that will be moving, and the camera movement..

Don't look now, but you've just expressed visually how you want your shot to look. For all queries contact: The Shot and The Scene. The Shot Shots are the smallest unit of dramatic action in the movie and serve as building blocks for scenes.

Each shot must have a purpose in the scene, otherwise it should not be used. Once the shot's purpose is achieved, it is time to cut to the next shot. A shot must be as short as possible while still achieving its purpose. If it is too long, the audience will be bored; if it is too short, they will be frustrated.

Several factors contribute to determining proper shot length: Audience Expectation - In most cases the editor cuts to a new shot simply because the audience expects it. The audience may need to get closer, further away or angled differently to see the action. Audience expectation works on a subliminal level. Still, if the expectation is not met they will feel it and react negatively. For example, if a character is injured in wide shot, the audience will want to see a close-up in order to clarify what happened.

If the first shot drags on too long, it will frustrate the audience and possibly impede their understanding the action.

Running a shot too long is common error with novice filmmakers. Comprehension - Shots require various viewing times for the audience to comprehend them. Simple compositions, static subjects, and shots similar to their predecessor need minimal screen time for comprehension.

On the other hand, complicated compositions, moving subjects, and shots vastly different than their predecessor need more screen time. Despite this, the speed with an audience can absorb the meaning and purpose of a shot should not be underestimated.

Don't underestimate how quickly the audience can absorb the meaning of a shot. Action Requirements - Some shots contain an action that must be completed before cutting to the next shot. If the action is too long to hold audience interest, you should compress it using the techniques discussed later in the course. Editor Imposed - In the above situations, the editor determines shot length based on audience needs.

Occasionally, the editor will impose a cut to create a response in the audience. This can be to: The Scene Just as shots are the building blocks for scenes, so are scenes the building blocks for the overall movie.

Each scene must move the story forward in a significant way. Ideally, it should unfold like a story in miniature, with a beginning, middle and an end. Obviously, this will not be the case all the time, particularly with transitional scenes. Scenes should unfold like a miniature story, with a beginning, middle and end. When constructing a scene, it is essential to consider how it fits into the overall story. Specifically, you should consider the: Use of Camera. Camera Use A camera - whether it is video or still, digital or film, attached to a computer or a phone - is basically a box designed for trapping light.

It can be as simple as a cardboard box with a pinhole punched in it or as elaborate as those on a space telescope. Whatever the design, its purpose is to record patterns of light and shadow and colour, for future reference.

When you use a camera you are trapping images. There are many similarities between the language used for hunting and the language of photography - shoot, stalk, line-of-sight, capture, pin etc etc. A camera can be a very powerful weapon - especially in war time.

Is it a coincidence that Princess Diana named after the goddess of hunting was chased to her death by paparazzi? Selecting Your Shot Always consider the purpose of a shot before you start to set it up. If your subject is human - are they wearing the right clothes?

Are they in the right mood? Are they doing the right thing in the right place?

Related titles

Background Unless you are using a close up or plan to crop your photograph very tightly you need to consider the background of your photograph. Does it match your subject - think colours and textures? Does your subject show up against the background? If there is a mismatch between the two is this for a very specific reason?

Does the background give additional information about the subject? By carefully considering the relationship between background and subject you can make your images much more powerful. Light Light creates your image - use it wisely. As a general rule, the light should be behind you NOT behind your subject i. Remember that light has two purposes - to reveal and to create shadows, which hide. Make sure that whatever you want to show is bathed in plenty of bright light.

Whilst most digital cameras video and still cope reasonably well in low lighting conditions your images will still turn out rather dull. The most interesting times of day to capture an image are early morning and late afternoon - the angle of sunlight creates some very interesting shadows and the light if it is not too polluted has a soft quality. If you have a choice, always try to photograph an outdoor subject at these times. Also remember that artificial i.

Your camera may have an indoor or incandescent bulb setting that will do this for you. Getting The Perfect Shot Looking through the lens Pointing your camera and looking through the lens is just the beginning of the process. You will need to consider carefully the angle that you choose, as well as selecting what will and what will not be in your image.

One of the most underused pieces of photography equipment is feet - try moving around and seeing what effect a different perspective has on your image - take pictures from different angles. Composition The composition of an image is simply what it is made up of.

An image will display a series of objects or people, and when referring to its composition we look at their arrangement within the picture.

Often we infer meaning through objects' relationships with each other. Is one depicted as larger? More central? Better lit? How much space is there separating the objects?

Images are usually composed around the 'rule of thirds'. This dictates the depth into the picture in which objects are in clear focus. You may becide to blur out the background, in order to place more emphasis on central or foreground objects.

Framing Framing — deciding where an image begins and ends — is as vital to the meaning of an image as composition. There are a whole variety of camera angles which can be selected to frame a shot see left button bar , and often what is left out is as important as what is included.

Thiru Thiru Thuru Thuru (Movie Script)

What is beyond the picture, for instance, what could a model be looking at, is the source of much ambiguity and enigma. We infer meaning from the relationship between the camera and subject a close up is intimate, a long shot implies emotional distance or major status difference. By framing two objects together in the same image, we imply a connection between them, especially if there is a physical link, perhaps through a graphic or colour, between them. By isolating an object within the frame - for instance showing a swimmer against an expanse of nothing but sea - we can make it seem insignificant and lonely.

Compare these two pictures, of the Seattle Space Needle, taken from exactly the same angle within a second or so of each other.

The angle hasn't changed but the framing is very different. A zoom lens has been used so that the Needle on the right is framed by the buildings lower down,and the clouds around it, giving a sense of context. We can tell it's a very tall building, whereas the first shot compresses the height and makes the top seem closer to the photographer. However a wise person once told me that if you intend to break a rule you should always learn it first to make sure your breaking of it is all the more effective!

What is the Rule of Thirds?

The basic principle behind the rule of thirds is to imagine breaking an image down into thirds both horizontally and vertically so that you have 9 parts. As follows. Using the Rule of Thirds comes naturally to some photographers but for many of us takes a little time and practice for it to become second nature. In learning how to use the rule of thirds and then to break it the most important questions to be asking of yourself are: Lastly — keep the rule of thirds in mind as you edit your photos later on.

Post production editing tools today have good tools for cropping and reframing images so that they fit within the rules. Experiment with some of your old shots to see what impact it might have on your photos.

Read more: Camera Shots, Angles and Movement. Camera Angles The relationship between the camera and the object being photographed ie the ANGLE gives emotional information to an audience, and guides their judgment about the character or object in shot. The more extreme the angle ie the further away it is from eye left , the more symbolic and heavily-loaded the shot.

The Bird's-Eye view This shows a scene from directly overhead, a very unnatural and strange angle.

How to Write a Script and Beyond: FREE Screenwriting Tips, Advice, & Downloads

Familiar objects viewed from this angle might seem totally unrecognisable at first umbrellas in a crowd, dancers' legs. This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things.

Hitchcock and his admirers, like Brian de Palma is fond of this style of shot. Cameraman gets a high angle shot A cameraman, raised above the action, gets a high angle shot 2. High Angle Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview.

High angles make the object photographed seem smaller, and less significant or scary. The object or character often gets swallowed up by their setting - they become part of a wider picture.Finally they spot him walking with some files in the hand. An other compounder passes by V el signal s other cops and s tarts run ning. Clo ck sho ws Mahesh notes the number in his mobile He's a perfect gentleman Film festivals are really a great platform for amateur filmmakers and film lovers across the world They continue to argue and reach their colony.