Initially, the script looked quite simple and there was hardly and direction to the actors. It wasn’t clear that the script was to show what happened previously in the episode, as there were lots of scenes merged together. The actors worked well together as it was acted out better than the script was written, it was much more dramatic than I expected and the montage of scenes worked really well together. This script shows that the director has free reign over the dramatic aspects as there is hardly any dramatic direction. The actors display the right emotions for each scene and make the script seem a lot better.
Techniques for writing a script:
Often screenwriters get stuck with the dreaded writer’s block. The truth is writer’s block doesn’t exist—it is an imaginary barrier created by a tired, disorganized thought-process. A writer who has not fully worked out his or her story usually encounters mental fatigue or stress. Plan out your story first, and you can then use an outline that guides you through the progression of your story.
Much like a roadmap, an outline will tell you where you are and where you are going. That doesn’t mean you can’t make a few side trips, but without that destination you’ll be lost.
Too often a writer will get bogged down in trying to tell back-story or having a “moment” with their hero. There are also diversions with secondary characters that create a drag on the script. Every scene needs to drive the action forward. If not, cut it out. Remember: a standard spec screenplay does not exceed 120 pages.
Make Your Opening Count
Have you heard that the first ten pages of your script are the most important? What about the first five? What about the first? Openings matter because it’s what pulls the reader in and gets them to stick around. Make sure your opening is a grabber. British playwright and screenwriter Abi Morgan, who penned the scripts for The Hour and The Iron Lady, revealed that openings are very important. Morgan spent two years writing her first play because she rewrote and revised it countless times until she was satisfied.
STRUCTURE
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’
http://www.freelancewriting.com/articles/FF-how-to-write-a-screenplay-faster.php
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