Moving Narratives - Script Analysis
After finally finishing my script I’ve learnt a few things. First of all, I enjoy scripting and writing. It’s a direction I want to continue on, and advance. At first, I found deconstructing my original idea stressful and as though I was destroying it. However, after discussion with my tutor Allister, I found that it’s a key element I should embrace as it not only develops my script, it develops me as a writer and thinker.
The first issue with my first draft of the script was that I didn’t like the dialogue. I found it too scripted and bland. Reading it through made me cringe. Allister then read it through with me and made some alterations and suggestions. After reading it aloud and actually getting into character I found it much easier and it flowed. I took on an idea I had read about previously (I blogged about it here) where an actor had written an essay on the character he was to portray. Although I didn’t write an essay, I came up with a mental map of his past and his decisions. ‘Being’ the character whilst writing was incredibly helpful and allowed me to also show what he was thinking and engaging in.
Another comment that I had, was that the description was too great. It was cumbersome in the aspect of a script. It wasn’t easy to follow, so I reduced on the detail and kept it blunt but descriptive. Another technique I employed was to ramble on about what would take place, then come back and edit the mess of text into a scripted format. Looking at the little details allowed me to expand on what was key to script.
I also drew up a character storyline. I included before and after the events in the film. This let me fill in the skeleton of this story with essentials and other pieces key to development and interest in the story. By relating back and forth with this it allowed me to keep the characters goals and mental development in mind.
I skipped on putting camera movement in this script. A.) because the brief specified it had to be a ‘script’ and nothing more, and B.) because I found it slowed me down in my process. It’s the first time that I’ve written a script like this. I still kept shot notes in mind, but it gave me the freedom to create a world and then later I could come back to it and hold a magnifying lens to it. I used standard industry terminology and conventions such as:
Scene headings - EXT/INT Place date etc.
Overall, I’m very pleased with my script. Obviously, I could develop it more and I plan to in the future. I’m glad that I managed to step away from cliché, especially with dialogue. That was something that really bothered me. I felt as though I wasn’t being ‘original’ but:
‘Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.’ - Jim Jarmusch
This module has helped me realise, it’s okay to get stressed and mad and anxious with work. It wouldn’t be work otherwise. And, not to lose passion for something when it doesn’t quite go the way you planned. It’s also been interesting to look at some of my favourite films and see how they differ from the original scripting process.
