Rus Articles Journal

How to write the film script?

Usually advice is given by experts. And in my opinion, it is absolutely wrong! The professional forgot long ago all rake on which stepped. He already constructed the algorithm of actions, perfected to automatism of action therefore it is banal is not capable to understand difficulties of the beginner. The pro simply forgot these trifles, they at him in subconsciousness sit.

So it developed that literally the other day suggested to write me the script of the movie (more precisely than its subspecies - the television movie). Actually, at first I offered idea for the scenario (and without any mercantile benefit, just with all the heart), and future producer of the movie told: “Time all this at you in the head sits, and paint on scenes!“ Experience of writing I at that time had zero

(and now not strongly left forward).

From the screenwriter, especially a beginner, two documents are required usually: scenario literary and synopsis. There is still a scenario with a storyboard and timing, but it is not our care. Let Mikhalkov with Bondarchuk suffer!

the Scenario literary

Is, so to say, the most present and sound scenario. Its task - in an art form to retell a plot of future movie. He is written the same as any literary work is written. That is why it is so easy to publish the book according to the movie. It is almost ready!

Sometimes mention difference in dialogues: scenario remarks are obliged to be live, unlike the correct literary dialogues in fiction. But recently writers of all colors too with might and main use colloquial style, therefore this remark already, in my opinion, not actually.

Example of the literary scenario:

Summer morning. Down the street people hurry on the affairs. The entrance of the house No. 7 leaves Anton and inertly moves to the bus-stop on that side of the street. At the traffic light he is late, waiting for green light, and then, together with ten other passersby, hurries to cross the road. On both sides of “zebra“ cars hum motors. The traffic light a pikanye measures the seconds allotted on crossing of the street.

Or here so:

Summer morning. On the street light-. General plan: a house, about it the carriageway, the traffic light. The entrance leaves Anton. He waits when green light lights up, and crosses the street, moving towards a chamber. Following plan. The fence, behind it is park. Anton goes along a fence, the chamber follows it.

And so on on each scene: who that, where and why. That is the literary scenario is a detailed description of what will occur in each scene of the movie.

At desire and existence of time you can make even the full description of a scene of action and behavior of heroes. The scenario form becomes simpler only from - for time frames, nevertheless it is not the final product, but only part of long film-making process.

As you can see, a statement of the literary scenario rather free also does not demand knowledge of any special rules. However it is admissible in case you know that for whom you write, and they know you.

But what if you want to write the scenario and only then to try “to attach“ it? Here the knowledge of a form will be necessary. They say that in Hollywood there is a requirement: sheets of the scenario have to be stitched by three paper clips. Otherwise the scenario will not even be read!

We will follow other an example (the movie “Clear Head Will Hunting“, the translation of kinotime. ru ).

FROM BLACKOUT:

of EKST. The SOUTHERN BOSTON. PARADE ON the ST. PATRICK`S DAY - DAY

TRANSITION:

of INT. The BAR STREET ALE, the SOUTHERN BOSTON - EVENING

of Bars dirty, more than simply is not cleaned. Even if here the cook works, he is not on the place now. As the chamber pans across several empty little tables, we almost hear a smell of yesterday`s beer and the scattered snack on a floor.

ChAKI:

- Oh, My God, at me for you, children, just the most cool history.

As a chamber rises, we find FOUR YOUNG PEOPLE sitting around a table directly behind a bar counter.

ALL (chorus): there is no

- About. Again begins.

It is the literary scenario too, but it is issued already strictly by rules. It is necessary if you offer the scenario of a film studio, send it to a competition, well or study at faculty of screenwriters.

The first that should be learned for writing of the professional scenario, it to learn block structure:

1. Time and scene of action.

2. Description of action.

3. Name of the hero.

4. Hero`s remark.

5. Note.

6. Caption.

Blocks differ in a marking, fields and formatting. Are ready to plunge into cine bureaucracy? Then I recommend Olga Smirnova`s grant which you will find on the websites of the corresponding subject for studying.

the Synopsis

is not enough

of Time, terms draw in, and 80 pages of the scenario (it is necessary for the feature film) to write long enough approximately so much. And the customer, the producer, the director already wants to have an idea of the movie. Then you fast throw a summary (actually, the synopsis and is translated as the abstract):

An episode of 1

the Main character goes along the populous street and comes into cafe.

The episode of 2

Sits down at a little table and gets the mobile phone. The hero is obviously disturbed by something.

The episode of 3

approaches a little table the waitress. The hero orders coffee and looks out of the window on the street.

As we only try the forces, it initially is enough. The main thing that the potential customer saw interesting idea (the original plot, just is a lot of ridiculous jokes in case of the comedy).

That`s all about a synopsis. Shortly, truth?

Small cunnings

Submitting to laws of dramatic art, the scenario has to possess three-act structure. Screen time breaks into three acts: tie, culmination, outcome. It even at literature lessons in school is passed (in my time, at least, passed). And further we repeat this process once again: we divide a tie into three parts, we divide the culmination and an outcome into three parts again. The number of these acts depends both on timing, and on a gut feeling (experience, skill, talent) of the screenwriter and the director.

My intuition was absent. Therefore I just made so: Divided 90 minutes on 3 and received three half-hour episodes, and, in turn, divided those into 3 ten-minute stories united by the general heroes and the subject line.

And finally - council. Surely watch some favourite movie, but already from the point of view of the screenwriter. Note alternation of scenes and try to describe them.