Screenplay

GENRE ANALYSIS Written by Anthony Padron The genre of film scripts is always a response to getting a screenplay made into a film. There are various types of scripts that are all each used for different reasons. Each type draws back to the same situation, but each type of script is made for a different part of film production. A reader of a decent literacy is required for reading screenplays. The reader does not necessarily have to be at the level of reading novels, but they should have a basic handle on reading interepretation and comprehension. THE SCREENPLAY INT. THE WRITERS ROOM Screenplays are written by scriptwriters. It may seem obvious, but not every screenwriter actually has hands-on experience with putting the final film together. The screenplay is meant to be an easily-digestible piece of work. It is written so that another collaborator can easily digest the story that the screenwriter wants to portray and it is also formatted this way to allow a potential buyer to easily be able to read through it without losing momentum. Just as a feature-film has an average running time of ninety minutes, an average screenplay is comprised of ninety pages. Each page is meant to represent a minute of time in a film. This is called the page-per-minute rule. It wont necessarily take somebody a minute to read through each page, but it allows the reader to visualize the pace at which the film would go. It is apparent, upon looking at a screenplay, that there is a lot of white space. Screenplays are meant to be easy to read, and the page-per-minute rule affects the look of the page as well. Broad paragraphs, like the one that you are reading right now, are saved for descriptions and action scenes, which are always written in the present tense. The most common thing that one would notice about the amount of white space is that dialogue takes up a narrow center margin on the page. "Dialogue" are the lines that a character speaks. The dialogue is kept to the center of the page with broad white spaces on either side of it. Above a line of dialogue lies the name of the character speaking those words. The characters name is always (CONTINUED)

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capitalized and is always written the exact same way throughout the script. This is meant to keep a sense on continuity and allow the reader to comprehend conversations and characters expressions more easily. A good example of screenwriting that is full of dialogue would be any screenplay written by the infamous Quentin Tarantino. His films are filled with minutes and minutes of nothing but dialogue. He likes to portray his characters as talkative people with a lot to say. For example, his 1994 film, Pulp Fiction has a script with countless pages of just dialogue. Most of his pages would be filled with lots of white space. This way, any reader can easily follow the flow of conversation. The other words that are always capitalized are called "scene headings." They basically allow the reader to visualize a new location. This is a marker for a new scene, which often brings with it a new location. If the scene take place inside, the scene is designated with an "INT." for "interior." If the scene takes place outside, it will begin with an "EXT," followed by a brief name and description of the location. Though it could be considered to be entertaining, the screenplay is not necessarily meant to entertain. It is meant as a guide for the reader to visualize what the writer is describing. This is not be confused with the manner in which books allow you to see a story through description. Screenplays use the bare essentials of description to bring a story together and to push a certain "rythm" into its readers mind. It appeals to the idea that this is a filmable story. Often, a screenwriter will want a film producer to read their script so that they can get their screenplay funded and turned into a feature-length film. Making the story as easy to read as possible is a must. Nobody wants a producer to turn down a good idea just because they didnt have the patience to wrap their brains around the authors writing style. THE SHOOTING SCRIPT EXT. THE BACKLOT When a screenwriter is ready to have his screenplay turned into an actual film, he or she may develop what is called a "shooting script." This is a screenplay that has more detailed instructions for a director. Sometimes the writer only types the story while the director only works behind the camera. But, very often, the two are one and the same.

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The regualar screenplay is written first, and once funding has been attained or the time has come to film, a shooting script is developed. The shooting script is meant for the director. Aside from visualizing the story, the shooting script specifies certain camera movements or techniques. It will explain, more specifically, how the film will look. For example, the writer of 1999s American Beauty is Alan Ball. Ball had very particular ideas for how the film would look and how the camera would move. His descriptions are filled with colors and more detailed explanations. In his shooting script, he explains that the film will begin with a birds-eye-view of our protagonist floating up above, looking down at his home. Certain movements and items or places are capitalized in a shooting script to emphasize camera movements and how exactly something should look in the final script. Words like HOVER are capitalized so that the director may easily refer to the section of the script. As the script progresses we may ROTATE AROUND and realize that the protgonist is not flying but is laying in his bed. Take your eyes away from the page and see what words stand out to you the most. The director wants to read the description as it was in the original script, but having to scroll through lines of description doesnt exactly lead to quick, time-saving direction. Being able to easily spot these directions with all letters capitalized is essential for the shooting script. THE TELEPLAY INT. BOARD ROOM The teleplay is a bit different from the screenplay, though it is essentially the same. Teleplays are scripts used for television programs. The difference is that, there is a different amount of time here, and that teleplays are suaully sent up to executives and producers who make sure that the teleplay is doing what it must, which is attracting and keeping viewers. Television, more than a film, needs to grab a viewer and keep them wanting to stick around at least twice during a thirty minute period. The teleplay is formatted similarly to a regular screenplay. The page-per-minute rule still applies, only there are going to be less pages and less minutes. The (CONTINUED)

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major difference here is that the three-act sturcture reigns supreme in the teleplay. The same three-act structure used in every type of literature applies to the teleplay, but each act has to entice the viewer to stick around during the commericals to see what comes next. Act one has to set up a goal for the protagonist of the story, and then has to put an obstacle in his or her way. Now its time for commercials. When the ads end and the show comes back, the protagonist must get deeper into his or her predicament, so that the viewer wants to see how the problem is solved in the final act. Teleplays designate the acts by writing in all-capital letters "END ACT ONE" whenever an act is over and there is time for advertising. Producers are the ones who read teleplays and give it a pass or a "go." Teleplay writers need to ensure producers that each act is defined and leaves the viewer wanting to stick around. Teleplays are written with the same formatting as a screenplay, except dialogue is usually double-spaced, leaving even more white space. Since half-hour programs dont cost as much as films, their aim is squarely in the dialogue. After the teleplay has passed through the producers, it moves along to the writing team who will alter and edit the teleplay in whichever way they see fit. The extra space between lines of dialogue allows for places to write notes and to write in other lines, if need be.