Component 3 Exemplar

1. Component 3 Exemplar

2. [Scriptwriting Stages]

3. [Narrative Ideas]

4. Genre: Futuristic ThrillerTechnique: frame narrative Themes: mental health, technology, gender politics, ontology, enigmas. [Mood Board] Marnie (the inventor) has meticulous maps of algorithms, code, theory and equations which act as an inspiration board for Marnie’s technological development. Gabriel plays the role of the hopeless romantic loser who becomes defensive when demonised as monstrous or dangerous. Every sci-fi concept with an invention requires a McGuffin. The portal in Looper works effectively as a time machine. In OntoloG, the portal will be a prophetic device which creates a montage of your future. Gas masks and gas lights and haunting symbols of Gabriel’s self-imposed dystopia. Train underground setting to highlight disorientation McGuffins – ticking clocks, metadata algorithms, mirrors. Key location for conversations between Marnie and Gabriel The mise-en-abyme effect will be deeply connected to the metanarrative tropes of OntoloG. Student house party scenes – occasions between Brady, Anja, Samuel, Gabriel and Marnie. Mental chaos represented by spiral staircases – reference to Vertigo.

5. MARNIE ANJA [Mood Board] BRADY Passionately involved in relief work missions in war-torn regions – away from home – on return, she is involved in political and administrative duties in prep for the next intervention. Marnie’s penboard is littered with algorithms, code, equations, metadata, epiphanies, creating questions out of questions. Loves the gospel music of Mahalia Jackson and the soul music of Marvin Gaye and Otis Redding Lives the high life of a socialite – popular with many girl friends. Her PR role and social life are blurred. Clever at talking shop. Marnie’s chosen meeting place with Gabriel. Marnie’s engineering suit for OntoloG. Social media savvy and aware of the importance of public image to her job. Involved in women’s art therapy social groups. Avid book reader – enjoys Picoult novels. Solitary life - more interested in creating something marvellous than connecting with others. Introverted but confident and with an astonishing intellect. Has a keen sense of wishing to help outsiders. Finds joy in partying hard. Gabriel’s virtual footprint is easily picked up by Brady and reveals infidelity. Loves architecture, travelling, Cute art faves

6. EVERETT MARTHA [Mood Board] SAMUEL Passionately involved in relief work missions in war-torn regions – away from home – on return, she is involved in political and administrative duties in prep for the next intervention. Devoted to study with a keen sense of justice.

7. [Character Profiles] Marnie Brady Anja Gabriel Martha Everett Samuel • Enneagram Type 8 – the Challenger (Activist). • Job – Charity worker in areas of war-torn conflict (Syria). • Gabriel’s ex-girlfriend. • Enneagram 2 with a 3 wing – the Achiever and the Helper. • Job: Inventor of OntoloG. • Set-up: through data mining, identifies Gabriel as vulnerable to suicide – establishes an intervention to give him purpose – subject for OntoloG testing. • Character: precocious, introspective, thoughtful, compassionate, visionary – wants to use her abilities to create a better world to benefit all. • Enneagram Type 3 – the Achiever. • Gabriel has an affair with Anja when he was still with Brady. • Enters into a relationship with Everett. • Anja was unaware that Gabriel was in a relationship. • Job – Public Relations Specialist. • Enneagram Type 4 – the Individualist. • Job: Former GCHQ worker, former Drama teacher, failed writer – gifted but erratic man who moves from job-to-job. • Set-up: Unemployed after a public meltdown, suicidally depressed, becomes guinea pig subject for Marnie’s technology. • Character: charismatic but insecure hopeless romantic. • Brady’s protective brother. • Enneagram Type 5 – the Investigator / Observer. • Job – Lawyer. • Gabriel’s mother. • Enneagram Type 9 – The Peacemaker (Helper) • Enneagram Type 7 – The Optimist (thrill-seeker) • Job – Personal Trainer. • Brady’s new boyfriend. • Goal – find true love, succeed professionally, psychological stability.. • Obstacle – mental health dysfunction (own worst enemy). • Efforts to overcome obstacle– seizing OntoloGopportunity. • Setback – revelation that he may become a serial killer in the future. • Final shot– accessing and changing the algorithm in order to create an alternate reality. • Success/failure– Undisclosed. • Greatest fear – that he is not special and not understood. • Narrative arc – learning to prioritise empathy for others over self-obsession. • Goal – to master her invention and create a better world. • Obstacle– unpredictability of her subject – whether the invention could be used for malevolent purposes. • Efforts to overcome obstacle - • Final shot - • Success/failure - • Greatest fear – to fail at the OntoloGexperiment and that she is irrelevant and not needed. • Narrative arc - • Goal – to protect Gabriel from harm. • Obstacle – Gabriel’s volatile nature. • Efforts to overcome obstacle – imploring advice. • Final shot - • Success/failure – • Greatest fear – conflict (avoid it at all costs – seeks to pacify Gabriel). • Arc - • Goal - • Obstacle - • Efforts to overcome obstacle - • Final shot - • Success/failure – • Greatest fear – that they cannot fully understand something. • Narrative arc - • Goal - • Obstacle - • Efforts to overcome obstacle - • Final shot - • Success/failure - • Greatest fear – that she will not be successful but will be seen as a failure. • Narrative arc - • Goal - • Obstacle - • Efforts to overcome obstacle - • Final shot - • Success/failure - • Greatest fear – that suffering will continue on a mass scale and she can’t make a difference. • Narrative arc - • Goal - • Obstacle - • Efforts to overcome obstacle - • Final shot - • Success/failure - • Greatest fear – pain (they will reframe it to find something fun). • Narrative arc -

8. STAGE 4 - CLIMAX STAGE 3 – PROGRESSIVE COMPLICATIONS [ D e t a i l e d S y n o p s i s ] STAGE 1 – EXPOSITION STAGE 2 – INCITING INCIDENT • Gabriel is a Drama teacher who is sacked after a public meltdown. • Gabriel is chosen as a guinea pig subject for Marnie’s technology, OntoloG. • On the brink of suicide before the intervention after receiving a series of anonymous messages encouraging him to end it all. • The machine’s prophetic abilities reveals that he will murder Samuel and then Everett – not happy with the outcome, he hacks into OntoloG’s system, but by doing so, creates an alternate reality which could spiral out of control. • Flashback: Gabriel committed fraud as a vlogger • Targets Gabriel as an ideal candidate through data mining operation to find vulnerable adults who would benefit from involvement in an exciting project. STAGE 5 - RESOLUTION

9. [Inspiration Research] Duplicity, voyeurism, psychoanalysis The idea of technology out of control – AI leading to a new era in development. Psychologically intense gender relations The concept of disturbing monitoring. The idea of a colleague who is found out as a fraud is instrumental to the character of Gabriel. The idea of meeting ‘ghosts’ from the past is a connected concept with OntoloG. The toxicity of contemporary media culture to be explored. The idea of social experiments which go wildly out of control will relate to OntoloG. Time travel – parallel realities. Mental health thriller. Mental health dramedy. Alter your destiny – subvert the plan. Time, memory, technology. Non-linear dystopian sci-fi. Postmodernism Time, memory, technology. Meltdowns. [SONGS] EDMDigitalism – Blitz, Jupiter RoomZZT – Lower State of ConsciousnessDaniel Avery – Drone LogicChemical Bros – GalvaniseLFO – FreakBooka Shade – Mandarine GirlMatthew Dear – Fleece on BrainJoe Goddard – Gabriel2 Many DJs – NY ExcuseJustice – Waters of Nazareth (ErolAlkan re-edit) InstrumentalSigurRos - VarúðBoards of Canada – Dayvan Cowboy Four Tet – As Serious As Your LifeMogwai – Les RevenantsThomas Newman – Brooks Was HereMr Scruff – Get a Move OnExplosions in the Sky – Your Hand in Mine Bonobo – Kong Cinematic Orchestra – To Build a Home DJ Healer – Nothing 2 Lose Brian Eno – Ending (An Ascent)Burial & Four Tet - Moth UpliftingWolfmother – VagabondBright Eyes – First Day of My Life Dismemberment Plan – You Are InvitedImagine Dragons – RadioactiveGrimes – GenesisVampire Weekend – A-PunkChristian & The Queens – The WalkerSleigh Bells – Infinity GuitarsLes Savy Fav – The Sweat DescendsIcona Pop – I Love ItLykke Li - Utopia EdgyDeath Grips – Get Got, I’ve Seen FootageXiuXiu – I Luv the Valley OH!Tyler, The Creator – Yonkers, OKRAPusha T – If You Know You KnowShellac – Watch SongThe Locust – File Under Softcore SeizuresGlassjaw – Cosmopolitan Blood Loss Why? – The Vowels, Pt. 2Blonde Redhead – For The Damaged CodaDeath From Above 1979 – Romantic RightsBroken Social Scene – AnthemMarnie Stern – Patterns of a Diamond Ceiling ReflectiveCharlotte Gainsbourg – Master’s HandTV on the Radio – Shout Me OutJonquil – It’s My PartThe National – England Chad Valley – Up & DownThe xx – Crystallised Magnetic Man – Almost There LCD Soundsystem – All My FriendsFlorence & The Machine – Shake It OutAlessia Cara – HereThe National – About TodayHozier – Take Me To Church MeltdownThe Antlers – Kettering La Roux – In For The Kill (Skream’s Let Get Ravey Remix)Liars – The Other Side of Mt. Heart AttackFrightened Rabbit – The Modern Leper Elliott Smith – Needle in the HaymewithoutYou – SilencerSongs: Ohia – Didn’t It Rain Yeah YeahYeahs – DespairFoals – Spanish SaharaJack White – Love Interruption

10. “Listen to them. Children of the night. What music they make.” - Dracula “You are probably going to be a very successful computer person. But you're gonna go through life thinking girls don't like you because you're a nerd, but I want you to know from the bottom of my heart that won't be true. It'll be because you're an ***hole.” – The Social Network We may be through with the past, but the past isn't through with us.- Magnolia What am I doing? I'm quietly judging you. - Magnolia “You had me at ‘hello.’” - Jerry Maguire [Inspiration dialogue] “After all, tomorrow is another day!” - Gone With the Wind “Is that the only way you can succeed, to see me fail?” - Gattaca “Open the pod bay doors, HAL.” - 2001: A Space Odyssey “You're gonna need a bigger boat.” - Jaws You don't have free will, David. You have the appearance of free will. – The Adjustment Bureau “Greed, for lack of a better word, is good.” - Wall Street “All right, Mr. DeMille, I'm ready for my close-up.” - Sunset Blvd “Of all the gin joints in all the towns in all the world, she walks into mine.” - Casablanca “Fasten your seatbelts. It's going to be a bumpy night.” - All About Eve “Too many guys think I'm a concept, or I complete them, or I'm gonna make them alive. But I'm just a fucked-up girl who's lookin' for my own peace of mind; don't assign me yours” – Eternal Sunshine of the Spotless Mind “What we've got here is failure to communicate.” - Cool Hand Luke “Gentlemen, you can't fight in here! This is the War Room!" - Dr. Strangelove “Isn't it strange, to create something that hates you?” – Ex Machina “Well, here's another nice mess you've gotten me into!” - Sons of the Desert “Rosebud.” - Citizen Kane “Destruction is a form of creation” – Donnie Darko “I have always depended on the kindness of strangers.” - A Streetcar Named Desire “Keep your friends close, but your enemies closer.” - The Godfather II “She had locked something away,something deep inside.A truth that she had once known,but chose to forget.And she couldn't break free.So I decided to search for it.I went deep into the recess of her mindand found that secret place.And I broke in..” - Inception I can't remember to forget you. - Memento “I'm as mad as hell, and I'm not going to take this anymore!” - Network “Life is a banquet, and most poor suckers are starving to death!” - Auntie Mame “Did you know there are more people with genius I.Q.'s living in China than there are people of any kind living in the United States?” – The Social Network “A boy's best friend is his mother.” - Psycho “One final thing I have to do... and then I'll be free of the past.” - Vertigo

11. [Dialogue ideas] “Is that the only way you can succeed, to see me fail?”

14. Script Conventions Exemplar

15. [Glossary of Narrative Devices]

16. Film Schedule – Shot list

17. Film Schedule – Shot list

18. [STAGES OF PRODUCTION] • The initial idea - premise, pitch, synopsis, treatment. • Analysis - intertextual reference, postmodernity, auteurism, ideology, representation. • Visualising process - mood board, storyboard, lyrics to visualisation. • Pre-filming prep - collating resources, casting, shot list, equipment list. • Recce shoot - risk assessment, location scout, rehearsals. • Production - camera, lighting, sound, production design, acting, chain of demand, rushes. • Post-production/editing - rough cut, effects, grade and colour. • Distribution and marketing - social media, press coverage, finding audience, targeting sales.

22. Parenthetical • Indent: Left: 1.5" Right: 2.0" Width: 2.5" • A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what's going on with your dialogue, then it probably just needs a good re-write. Second, it's the director's job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's turf! Extension • Placed after the character's name, in parentheses • An abbreviated technical note placed after the character's name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.). Transition • Indent: Left: 4.0" Right: 0.0" Width: 2.0" • Transitions are film editing instructions, and generally only appear in a shooting script. Transition verbiage includes: • CUT TO: // DISSOLVE TO: // SMASH CUT: // QUICK CUT: // FADE TO: • As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed. Shot • Indent: Left: 0.0" Right: 0.0" Width: 6.0" • A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely a time when a spec screenwriter should insert shot directions. Once again, that's the director's job. Examples of Shots: • ANGLE ON -- // EXTREME CLOSE UP -- // PAN TO -- // LIAM'S POV -- Scene Heading • Indent: Left: 0.0" Right: 0.0" Width: 6.0" • A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS. • Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime. Subheader • Indent: Left: 0.0" Right: 0.0" Width: 6.0" • When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations. Action • Indent: Left: 0.0" Right: 0.0" Width: 6.0" • The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction. Remember - only things that can be seen and heard should be included in the action. Character • Indent: Left: 2.0" Right: 0.0" Width: 4.0" • When a character is introduced, his name should be capitalized within the action. For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare. • A character's name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example "TAXI DRIVER" or "CUSTOMER.“ Dialogue • Indent: Left: 1.0" Right: 1.5" Width: 3.5" • Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs. Screenplay Elements Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.

23. CONTEXT AND CHARACTER ARE EVERYTHING. As you’ll notice from the famous examples given above, the best dialogue won’t make any sense to anyone who hasn’t seen the movie. Make sure your dialogue fits the character who is speaking it, and that it springs directly from story context instead of feeling “grafted on.” Even in comedies, if a line isn’t true to the character and situation, it won’t work. • NO ONE SHOULD TALK LIKE ANYONE ELSE. As in life, each character in your script should have his own distinctive speaking style. To test for this in your script, cover up the character names and see if you can still guess which character is speaking at any given moment. If your characters talk too much alike, fix this problem right away. • NO “SMALL” ROLES. Actors like to say, “There are no small roles. Only small actors.” When I read and evaluate a script, I worry when I see characters with generic names like “Thug #1” or “Waitress #2.” Too often, that naming convention results in equally generic dialogue. Each character in your script should have a name (or at least a persona, such as, “Nervous Bank Teller”), and a distinctive personality—reflected in his dialogue. • ARGUING IS GOOD. Arguing probably isn’t a good approach to life. But conflict is great for your story. Make sure that every character in your script gives your hero a hard time. I don’t care if all your hero wants is directions to the nearest gas station. Nobody should cooperate with him—at least not without a lot of persuasion. • EVIL IS AS EVIL DOES. Amateur writers create heroes whose dialogue drips with the milk of human kindness, and villains whose every syllable drips venom and evil intentions. But what do the pros do? They write heroes who may talk cynically, but behave in the opposite way and demonstrate compassion or idealism. Their villains are often elaborately polite, but evil in their behavior. This technique adds depth to your script—when dialogue doesn’t always directly reflect a character’s true inner being. Always remember your character’s actions—not necessarily what he says—determine whether he is good or evil. For reference, see the quintessential cynical hero, Humphrey Bogart’s Rick in Casablanca; and for a classic, polite villain, see Calvera (played by the great Eli Wallach) in The Magnificent Seven. • DON’T TELL US THINGS WE ALREADY KNOW. In some of the scripts I analyze for writers, we get story information in one scene, and then in the very next scene one character tells another the same “news.” Never tell us things we (the film audience) already know. How to avoid this mistake? Start the next scene later, after the “news” has already been transmitted—or cut it off earlier. For example, if a character dies in one scene and the hero must transmit the sad news to the deceased’s next of kin, all we need to see in the follow-up scene is what happens right before the relative is told—or what happens right after. In fact, that “aftermath” scene probably won’t need any dialogue at all. All the hero needs to do is walk in the door and make eye contact with the person he must tell. Cut! Also, never write a line of dialogue that begins with: “As you already know … ” If information is being transmitted solely for the audience’s benefit, it doesn’t belong in your script. • AVOID “ON THE NOSE” DIALOGUE. When I was in film school, they warned us never to write dialogue that was too “on the nose.” By this they meant that characters should never simply state exactly what’s on their minds, without nuance or subtext, nor appear to be giving “exposition.” That’s tantamount to being boring, a cardinal sin. In life, people rarely say directly what’s on their minds. In movies they shouldn’t either. • LESS IS MORE. If you can “say” the same thing with a visual image, action, behavior, or sound effect instead of through dialogue, omit the dialogue. • AVOID “VOICE-OVER VERBATIMS.” Voice-over narration should never merely repeat what we’re seeing in action unfolding on the screen. It should act as a counterpoint to the action rather than echoing it. • GIVE ACTORS SOMETHING TO ACT. When writing for a star (and even if you are writing a spec script, you should have a star in mind), your dialogue should give him something to sink his teeth into to “chew the scenery.” If, to Gordon Gekko, “Greed is good,” for movie dialogue, “Over-the-top is good.” The star of your movie should have at least one “big speech.” Give him all the best lines. And make sure that your protagonist is introduced very early in your script—preferably on page one. • BONUS TIP: Write characters that are quirky and unpredictable in what they say and do. Whatever someone would normally say in the situation at hand, have your character say something totally unexpected instead. Screenwriting: Dialogue – Basic Tips

24. Script Example #1 • Is this a hard conversation for one or both of these characters to have? • Does it put one or both of the characters under pressure? • Does the conversation involve conflict as one character tries to “win a battle”? • Were you engaged and excited while reading this screenplay dialogue? • Has a fundamental shift in the story occurred by the end of the scene? The answer to these questions is no. Neither Paster Ed or Ray are feeling particularly uncomfortable during this script dialogue. Despite addressing difficult subject matter, the tone is friendly and relaxed. Neither Paster Ed or Ray are attempting to outwit the other in a “verbal battle”—back them into a corner, trick or intimidate, etc. We have a post here on how to write dialogue between two characters that shows how to inject conflict into a conversation by equating it to a game of tennis. Note also how both Pastor Ed and Ray’s dialogue also regularly strays over the recommended three lines maximum quota. Read screenplays and watch films paying particular attention to how much each character actually says all at once. You’ll find it’s really not much at all.

25. Script Example #2 • Is this an important conversation that deserves to be in the script? • Does this script dialogue interest, amuse or shock you in some way? • Does it feel like a natural conversation between two real people? • Again the answer to these questions is no as it’s another example of characters “shooting the breeze.” Abby and Monica don’t discuss anything particularly important to the story and nothing surprising is revealed at the end to push it forward. • Overall, they spend most of the conversation complaining about the job market, rather than actually putting the other under any kind of real pressure with their dialogue. • Note also the frequent use of questions. Abby asks Monica five questions in the scene: • “Any luck finding anything?” • “What happened?” • “What about the other one?” • “Isn’t the state unemployment rate 11%?” • “By the way, where’s your friend, Chloe?” • This Q&A-style of script dialogue is very common in specs and is another symptom of letting characters “just talking” rather than forcing them to use their words as weapons. When characters are continually asking each other questions it feels unnatural and “on-the-nose” because this isn’t how people talk in real life. • As in the scene above, it’s hard to really imagine Abby and Monica as real flesh-and-blood people because they’re talking in such a direct, obvious way—asking each other questions for the benefit of the audience rather than themselves. • This also makes the script dialogue very uninteresting to read as it feels like the writer is force-feeding us information. There’s no intrigue or surprise here as characters invariably end up answering these sort of questions exactly as we’d expect them to.

26. Script Example #3 • Is this a conversation you’ve never heard in a movie before? • Does each character have a distinct personality? • Does this conversation reveal anything new about these characters? • As you can see the answer again to these questions is no. This dialogue feels uninspiring and generic because yet again these guys are just “shooting the breeze.” The conversation never escalates into anything approaching conflict and as a consequence there’s no real reason for it to be in the script. • Note as well how there’s nothing particularly fresh or surprising about it. We feel like we’ve heard this kind of script dialogue a million times before and this is another major symptom of just letting characters chat without defining why they’re talking. • In real life people have these kind of inconsequential conversations all the time, but they don’t belong in a screenplay in which dialogue should be a heightened reality as previously discussed. • Finally, there’s nothing to differentiate these characters from each other. Kalvin kind of has his own voice, but you could swap out Jay’s name for Dutch’s and Wally’s name for Jay’s and nothing much would change. • Go through your script highlighting one character’s dialogue at a time. Do they all sound the same? If so, it probably means you don’t know the characters as well as you could. But once you know them better, they’ll also begin to develop an individuality to the way they talk, what’s known as a “voice.” • Creating a “voice” with a character’s dialogue can definitely be tricky but it’s ultimately what makes them interesting: the way you show us who they are by how they talk andwhat they choose to talk about. • In Sex and the City, for example, we have four women who are all roughly the same age, live in the same city, come from similar backgrounds and all have good jobs, and yet each character’s dialogue has a “voice” because each one has a different worldview, attitude and outlook on life. And this comes out in what they choose to talk about and how they react to things. • Once you know your characters a little better in this way, then their dialogue will naturally begin to sound different because you will be able to write it according to their individual personalities.

27. A Script Dialogue Audit • Advanced Tips • Start by going through each scene in your screenplay and noting how many questions are being asked. If the characters are engaged in a Q&A session, there’s a strong likelihood they’re just amiably chatting and their dialogue is purely for the audience’s benefit. • Seek out banal questions and answers and rework every conversation so the characters are making life difficult for themselves, hiding something, revealing something or engaging in an escalating war of words. • We understand that this can be hard to do as on the one hand screenplay dialogue needs to feel casual and “real,” just like how people talk in real life. On the other hand, dialogue isn’t how people talk in real life at all. • It’s a heightened reality in which characters hardly ever stumble over their words or go off-track, are much wittier than usual and always know just the right thing to say at just the right time. • When it comes to dialogue in a script, every word is selected for a reason, because they want to conceal something, find something out, kiss the other person or hurt them and so on. • The trick, then, is in making script dialogue feel like real life, but with every single conversation earning its place in the script. And the best indicator is: if the discussion isn’t making the characters uncomfortable or revealing something, it probably needs cutting. • Writing easy-going “shooting the breeze” script dialogue like in the examples in this post is an easy trap to fall into. While there are no obvious glaring dialogue mistakes in these scenes and they’re competently written, this is actually half the problem. • It’s because this kind of genial, laid-back dialogue is so easy to write that it feels normal and safe and ends up becoming a default position for the whole script. The trouble is, happy-go-lucky conversations are not particularly interesting to read and definitely not exciting to watch up on screen. • Another good way to eliminate screenplay dialogue that’s just “shooing the breeze” is to always remember that your characters’ speech should serve the needs of the scene, not the other way around. • In other words, script dialogue should not the be-all-and-end-all of a scene. It should be the last thing added to it—layered on top of the reason why the scene’s in the script in the first place—with stakes attached that relate back to the protagonist’s central dilemma. • The main purpose of a scene should be to push the story forward, from one beat to another. Therefore, the primary cause of bad script dialogue writing isn’t necessarily bad dialogue. It’s often a bad scene. Great script dialogue depends on your characters being in an already great scene. • So if you want to know how to write good dialogue between your characters, the first step may be to take a look at your scenes and ramp up the stakes and conflict within them until there’s something emotionally interesting happening in each one—regardless of the dialogue. • If you can’t find a reason why, say, Abby and Monica’s conversation during a yoga class should be uncomfortable, difficult or revealing in some way, then it probably means the scene itself isn’t uncomfortable, difficult or revealing and can be cut. • Be ruthless when it comes to editing script dialogue. If your characters are having too easy a time of it during a conversation, it probably means you’re not putting them under enough duress in the script as a whole. The Biggest Problem With Script Dialogue: “Shooting The Breeze” • Rather than just being told what your script’s dialogue should or shouldn’t do, we’ve come up with an exercise that should help you see the problem more clearly in your own screenplay. And the way to do this is to first see dialogue examples of it in another writer’s. • The exercise is divided into three parts: • Read three examples from spec of “shooting the breeze” dialogue • Discover the kind of fundamental questions you should ask yourself about the dialogue in a scene (which you’ll find after each dialogue example) • Read your own script and apply the same questions to every conversation • Doing this will hopefully enable you to better identify the problem of chatty script dialogue in your own work and then give you the tools to either rework the scene or cut it altogether. • Many screenwriters fall in love with writing dialogue—letting their characters loose to just talk and talk and talk because, well, they have a lot to say. In reality, the skill in writing great dialogue is knowing when and how to shut characters up. • As you’ve probably heard before, every line of dialogue in a screenplay should be in there for a reason. If not it can be cut. However, this advice can be a tricky thing to adhere to because writers often approach script dialogue as characters “just talking.” But it isn’t… • Rather, a script’s dialogue should nearly always put the characters under some kind of pressure. A character’s words should be either hard to say or hard to hear. What we often see in spec screenplays, however, is the opposite: words that are easy to say and easy to hear. • When characters are continually left to “shoot the breeze” like this—chat in a friendly manner with no real purpose or conflict—the reader loses interest. Often not only in the scene, but in the whole script. • It’s okay to have characters begin a scene by talking in a relaxed, friendly manner, engage in small-talk, order food, etc. But if they continue to talk like this for the entire scene—as in the dialogue examples coming up—then you have a conversation that’s “just talking” rather than pushing the story forward.

28. BA Film Studies – University of Greenwich

29. MA Film Studies - UCL £10,000 – Full Time (1 Year) £5,000 – Part Time (2 Years) MA Film Studies – Canterbury (University of Kent) £7,500 – Full Time (1 Year) £3,750 – Part Time (2 Years) You are required to take: • Dissertation (90 credits)• Formations of Film Studies: an Advanced Introduction to the Field (20 credits)• Cinema & Sentiment (20 credits)• Experimental Film & Philosophy (20 credits)• Film History & the Cinema Experience (20 credits)• Thinking Cinema (20 credits)• Reconfiguring Film Theories & Philosophies: A Cross-cultural Perspective (20 credits)• Media Aesthetics (20 credits)

30. Film Studies Ph.D Examples

31. THE UPDATE

32. Component 3Examiner’s Notes