![]() ![]() We hold our breath hoping that Mia is going to make it. The scripted scene fills us with tension. In the drug overdose scene, midpoint in the movie, Vincent (John Travolta) attempts to revive Mia (Uma Thurman) by stabbing Mia's heart with a hypodermic needle filled with adrenalin. The excerpt occurs midway in the script.Ĭinematic Example: Editing - Pacing and Expanding Time Here's how Quentin Tarantino uses editing as a storytelling device in Pulp Fiction. This ups the readers' emotional and psychological engagement, even if it's subconscious, or maybe because it's subconscious. Consequently, readers have to construct the "screen" in their head and then decode it as the movie unfolds. Rather than rely on dialogue to tell the reader the plot, the writers demand that readers participate by translating their text into sound and picture. Of course these are not employed all at once, or even in every script, but are enlisted according to the needs of a specific story. These writers use everything: sight, sound, motion, camera angles, camera lenses, transitions, editing, locations, graphics, and color, etc to tell their story. What these scripts have in common, whether written by screenwriters or writer-directors, is that they rely on cinematic tools to advance their stories. For writer-director scripts you might read The Professional, Bound, Barton Fink, Pulp Fiction, Dead Man, The Piano, Boyz N the Hood or The Sixth Sense. None of these are written by writer-directors. One of the quickest ways to understand how to write a cinematic script is to study some classic examples: Take a look at ET, Witness, Chinatown, Butch Cassidy and the Sundance Kid, or Raging Bull. If they can't, you may have a great radio play or a budding novel, but it's not a screenplay unless you write it as one. ![]() When the studio readers read your script they need to be able to imagine it up on the screen. To get to the finish line, you also need a story that's rendered cinematically. Why? Because having a great story is only half the job. Despite these necessary qualities, it's still anyone's guess if you've got a great screenplay. You've got a great hook, premise, structure, theme and characters.
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