Bullet Proofing Scenes: How to Keep Producers Reading
Producers will often say, “That movie really plays”. Or, “wow, that picture just flows so well.”
That’s what we want them to say about your script where they can see the flow from scene to scene on the page.
Two basic elements are necessary to achieve this.
- Review each of your scenes as you write them and look at each one carefully to see if you can come in late and leave early. You would be surprised at the extraneous material that screenwriters place at the top of the scene and at bottom. We often see ‘place holder actions’ that just take up space on the page. Someone leaves or closes a door or drives off. Ensure that each scene is one that enables you to come in late and leave early.
2. Engage and Intrigue the Audience.
Present scenes and situations that are unique. Watch the first ten minutes of Shakespeare in Love, 1998. Note the circumstance Geoffrey Rush is in. It’s unique and fresh, not the over used cliché of waking up from a dream or relying on a TV reporter to tell a part of the story. Find quintessential locations for the scenes in your story. Watch Gladiator, 2000 or The Insider, 1999. Quintessential scenes, locations and situations permeate both films.
Each scene is another chance to engage the audience. Keep them asking questions. Who is this Neo? Which pill will he take and why? He’s a low life drug pusher working in an office cubicle. Why is Trinity jumping from building to building and what is the Matrix.
The audience is intrigued and engaged.
The Secret to have lead a character audiences will love
Check the archives on the site, www.waynesmovieworld.com.
We have reviewed the important elements of creating a powerful rewrite and have been examining character most recently.
It is often said a lead character must be likeable. Maybe that’s not the most important thing. Michael Corleone in Godfather Two, 1974 was not likable. But he was relatable.
The audience must see on the screen someone that is relatable. If he’s likeable too, that’s fine, but they must say, “That’s me up there or someone I know or someone I’ve met.”
A lead character’s relatability is KEY.
One more item to consider. Create a log line for your main character just like you create a log line for your concept. What’s the character like? What is the character’s subtext? What are the elements of the character’s journey and what is the end point? What new thing does the character learn about himself as a result of what has happened to him in the story? Has the character been transformed?
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