Totally scripted! Part two.

A point I raised in part one of ‘Totally Scripted’ was that screenplays are generally filled with minimally worded and concise sentences. This is because each sentence in a script describes an image the camera will focus on. There is a mirroring relationship between the length of description of a object in a screenplay and the length of time the shot is shown in the film.

For example, if a screenplay simply said ‘apple’ it would be a one second shot of an apple. But if the screenplay said ‘a single green apple glistens in the sun’, it would be a five or six second shot of the apple. If the screenwriter simply wanted to have a longer shot of the apple, but with nothing special about it, they would write this:

Apple.

BEAT.

In theory, it should take the same amount of time for a reader to read the script as it should to watch the movie.

The often quoted adage “less is more” is very appropriate for screenwriting. Viewers are very familiar with film logic and do not need to have things spelt out or over explained. If there is a close-up on a knife, then the viewer will make the connection that the knife has some relevance. Maybe it is the murder weapon, or it is the key to unleashing a powerful warlock whose life mission is to wreck havoc onto the world. Chances are, unless it is a red herring, if it is written into a script than the image or object has some meaning or relevance to the outcome of the story. It would be cut out in the editing process if there was none. Screenplay audiences are assumed to be intelligent and adept at understanding film logics. Read screenplays if you enjoy not being treated like a person with a low IQ.

Totally Scripted! Part one.

As a reader, scripts can be very satisfying to read. Even as a standalone without having seen the film or with the intention of seeing it. The actual script is very visual as the purpose of a script is to show what the viewer sees, not what the director envisages. What is written in a script is exactly what is shown on the screen.

For example, if the screenwriter wanted to have a close up on a dagger dripping with blood, the script would say this:

Dagger drips with blood.

It would not say:

The camera does a close up on a dagger dripping with blood so that the viewer can see how gruesome the murderer was.

Putting what the writer wants the viewer/producer/director to feel in the script is pointless because this does not translate onto screen. There is no way for the writer to tell the viewer that they are meant to feel horrified by the gruesome murder, unless they see images on the screen that make them feel that way (or unless they are watching the directors commentary). The viewer cannot know that the murder was meant to be gruesome until the images they see on the screen evokes that sense of feeling in them.

Scripts are good to read because they use concise, minimal language. If as a reader, you get annoyed by texts bogged down by descriptions, and you do not like reading books that have the quality of a best-seller, you should read movie scripts. Hundreds of scripts can be downloaded for free on-line from IMSDb and other sites that offer a free script library.