Stanley Gordon

The rules of dialogue (From 'The Art and Science of Screenwriting' by Phil Parker- It has clear dramatic function (eg. advances the story, reveals character) It relates to the visual aspect of the moment It is character specific It is economical (short and to the point) It reflects the style of the narrative It delivers only what the action and visuals cannot It is speech, not prose After looking at these rules, we analysed extracts from various film scripts such as 'The Full Monty', 'Good Will Hunting' and 'Fargo'. My group focused on the 'Fargo' extract, seeing how the dialogue between Marge and Norm presented their marriage and the state of their relationship. We see it is stale, and had gone on so long that here is no sense of ego or need to entertain one another. They simply exist around one another, with no pressure on their relations. The conversation focuses on Norm's painting rather than the baby or Marge's current poli...

In class we looked at three different introductions to three different film scripts and compared their effectiveness. I personally believed the introduction to Taxi Driver to be the strongest. It is cohesive, collected and introduces every aspect of Travis Bickle that you then see expanded on in the film. It acts as the perfect set up and outline of his character albeit a little long-winded and overly-dramatic. It also introduces various themes and ideas that are played out in the film and is almost written like a book. Its quite stunning to read.

A BLT INT. DAY. RESTAURANT. Two men sit in a restaurant, both have plates and a drink in front of them and a BLT. ROY is a Londoner. They both look bored and sit next to one another. ROY eats disinterestedly, finishing his BLT pretty soon after the film starts. ROY   (Still with a mouthful of food) You havin’ that? (Pointing to CHRIS’s untouched BLT) CHRIS   No, go ahead. ROY pulls the plate towards his own and dumps the sandwich on then pushes ROY’s plate back to him. ROY   What’s put you in a shitty mood then? CHRIS   Huh? ROY   You’re in a shitty mood… looking all glum. Y’know? Who shit in your cereal? CHRIS Didn’t have cereal. ROY It’s a fuckin’ phrase, Chris. CHRIS Is it? ROY Yeah, course it fuckin’ is. CHRIS   I dunno, I’m just not… feelin’ it. ROY Right… (Carries on stuffing his face not giving a shit about CHRIS that much) Got sumfink on yer mind? CHRIS Yeah… a little bit. ROY Whassat? CH...

After watching a vast array of short films, I still very much stand by my second draft, Blue. That isn't to say I'm not open to different ideas, and if one I feel strongly about comes up in the near future I would definitely write it and see how it compares to Blue. However, I am certain I want to make a complete short film. As far as alternative ideas go, I had considered many. Primarily short comic duologue pieces in a similar vain to my first draft; Cigarette Break. I have yet to complete these and still need to upload the scripts. However, I did not like any of them over Blue. I think it is the most cohesive piece I have written in tone, and I can very clearly see the film shot for shot in my head, which I cannot say for other attempts. I also think it's simplicity plays into it's hands and I like that it is fairly straightforward, but can be seen very differently. After all the piece is from the boys very selfish perspective, and it is clear to see he is not as lo...