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There’s an old Hollywood saying to writers that if you want to send a message, use Western Union. The idea is that audiences want films to entertain them, not to make them think. Studio heads and producers didn’t want to unsettle the audience. This is depicted in the Coen brothers’
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. This instalment focuses on Minnie Goetze (Bel Powley) from the period coming of age film THE DIARY OF A TEENAGE
Stirring Interest If a story doesn’t pose a dramatic question, you’re probably reading a shopping list. Story questions are the narrative equivalent of a sales pitch, the means by which we’re convinced to stick a story out instead of mowing the lawn or something. Story Questions Moment to moment, the
It’s a cliché, but the entertainment industry is an industry. Show business is a business. It behoves screenwriters to remember this and to consider why write films in the first place. What makes the cinema experience worthwhile? When deciding whether an idea is worth developing and writing, it’s worth asking first: Is this
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. In this instalment, we focus on Tom Reagan (Gabriel Byrne) from the 1990 crime film MILLER’S CROSSING. MILLER’S CROSSING The
A major problem with crafting convincing children and teenage characters is that as we grow up it’s too easy to forget what it’s like to be young. Whether a project is aimed at children, teens, adults, or a range of ages, badly written young people stand out. The result is that
One of the major exceptions to the oft-repeated “show, don’t tell” screenwriting rule is the equally common received wisdom that screenplays should avoid using flashbacks. The criticisms are familiar from scores of screenwriting books. They weaken the dramatic tension, breaking up the momentum of the story to show the audience things
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. In this instalment, we focus on Ricky Baker (Julian Dennison) from the coming of age film HUNT FOR THE WILDERPEOPLE.
There are, broadly speaking, two ways to convey conflict: implicitly and explicitly. The former involves illustrating some kind of dissonance through setting, silence, the way one character looks at another. The latter involves someone saying ‘I hate you’, punching, or a deliberate explosion. THE GODFATHER PART 2 is rich in
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a compressed amount of screen time. In this instalment we focus on John McClane (Bruce Willis) from DIE HARD. DIE HARD is the quintessential, archetypal modern action
Like much of Paul Thomas Anderson’s work, the BOOGIE NIGHTS screenplay has an odd structure, divergent POV and a hefty length, yet every page of it is full of worthwhile lessons for screenwriters. Here are ten: Conflict doesn’t need to be constant Conflict is often billed as screenwriting currency: you’re
To write omnisciently as a screenwriter often entails, for better or worse, including elements that may never show up onscreen: jokes in descriptions or insights into characters’ thoughts and histories that only a reader will ever truly experience and appreciate. This statement is unlikely to surprise anyone sentient, but film
ANGEL HEART Alan Parker’s ANGEL HEART is an odd blend of genres, taking noir, psychological thriller and horror to a three-way shotgun wedding. The screenwriting lessons it can teach us are similarly diverse. The basic plot is this: a private detective named Harry Angel is hired by the mysterious Louis
Thriller Screenplay Power As a genre, ‘thriller’ tends to gently caress several others, namely horror, sci-fi, and drama. As such, thriller screenplays provide a goldmine of various narrative and structural techniques. These may well be films you’ve seen; it’s just that some of them might not have left you desperate
While first and third acts pose their own challenges, it’s in the weeds of the second act that many scripts (and movies for that matter) go astray. Introducing a second act subplot can be a strong solution, if executed well. The Challenge of the Second Act Alexander Mackendrick, the director
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. This installment focuses on Annie Wilkes (Kathy Bates) from MISERY. MISERY saw legendary screenwriter William Goldman adapting a Stephen King
Whilst advocating the deflection of script notes may be a strange thing for a dedicated script consultancy to do, the truth is that there is a great deal of bad advice handed out by script consultants at the murkier end of the industry (read also: “11 Reasons for the High
One facet of screenwriting which causes writers enormous headaches is conveying a lot with a little. Studying great minor characters is one way of learning this kind of efficiency. Minor Characters To Finer Characters The best minor characters can be just as rich as main characters. Ideally they should feel like they
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. In this installment, we focus on how BRIDGE OF SPIES introduces Jim Donovan (Tom Hanks). Steven Spielberg directs, from a screenplay
Endings are crucial. The feeling an ending gives an audience is the feeling they leave the cinema with. It’s the feeling that will colour their perception of their whole experience and the whole film. How do unresolved plot threads make an audience feel? Often, creating a satisfying ending means tying
There are two kinds of rugby player”, the legendary Scottish coach Jim Telfer told his players, “there are the honest ones, and there’s the rest. The honest player gets up in the morning and looks himself in the mirror and sets his standard, sets his stall out, and says: “I’m going
In 9/10 cases the protagonist is the driving force of a successful film narrative. We invest in their story because we identify with their goal and become invested in it; but some goals are more easily conveyed than others. Convincing an audience to root for a character fighting an evil
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a compressed amount of screen time. Writer-director Andrew Haigh followed up his acclaimed film WEEKEND and HBO show LOOKING with 45 YEARS, which he adapted from a short
Films that are set in the past are often judged for their authenticity. The “goofs” section of IMDb is overrun with anachronisms: this porcelain wasn’t made until six years later; or this character shouldn’t have shaved underarms. However, anachronisms can actually be useful for bringing the past to life. It’s hard for an audience
When a TV or Movie Setting IS A Character In the Narrative… Ask yourself this: what is a TV or movie setting? Really think about it. Is it just a backdrop on which to stage the events of your story? A static playground, conveying only time and place? Or can
Francis Ford Coppola Francis Ford Coppola is one of the greatest writer-directors to come out of the so-called “New Hollywood” wave of filmmaking, having made THE GODFATHER, THE GODFATHER PART II, THE CONVERSATION, and APOCALYPSE NOW all before reaching the age of 40. Nowadays, largely satisfied with his Hollywood filmography,
Writing mythically with cliché is relatively easy: watch a couple of films, read a couple of books then regurgitate the obvious stuff: quasi-religious story world, the quest, the mentor, initiation, testing, the final battle, rebirth etc. Writing mythically without cliché, by contrast, is not easy at all… In the 3rd
20 Great James Cameron Quotes on Storytelling With a filmography that boasts the likes of THE TERMINATOR, ALIENS, and THE ABYSS, James Cameron is undoubtedly one of the finest genre filmmakers and storytellers the film industry has ever seen. “There are many talented people who haven’t fulfilled their dreams because
An almost-great screenplay can be more frustrating than a really bad one. The potential is strong and the execution is almost there, but something went wrong at the final hurdle. Of course, it’s easy to pick out flaws in retrospect or to credit (or blame) the writer for something that
15 Genius Inciting Incidents by Screenwriters You’ve created a fully developed character or series of characters and are now pondering their motivation through the narrative you’ve started to develop. Inciting incidents come in all shapes and sizes, so you should try to think of something clever, inspirational or at least interesting
THE INSIDER INTERVIEWS: MICHAEL KUHN The Insider Interviews series started in 2010 as a set of recorded interviews, featuring the likes of Tom Hiddleston, Gareth Unwin, who produced THE KING’S SPEECH, Ben Wheatley and Hossein Amini, the Oscar-nominated writer of DRIVE and THE TWO FACES OF JANUARY. You can watch these here. The Insider Interviews now exist as live monthly events in central
One of the most influential auteurs of all time, Ernst Ingmar Bergman was born in Sweden and worked as a director, producer and writer across and theatre and screen. He directed over sixty films and documentaries, most of which he also wrote, and directed 170 plays. His most well-known films
10 Great Mid-Film Plot Twists by Screenwriters Too often when watching a film, especially for those of us who have seen many of them, you can read where the story is going and predict what is going to happen onscreen prematurely. However, those screenwriters in pursuit of something that will
While it’s true that the star system is not what it once was, actors can still have tremendous power. Many actors have their own production companies, partly as a route for finding interesting material off the beaten path of Hollywood. Look down Plan B Entertainment’s list of projects and imagine how many would have been
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. Screenwriter Diabo Cody and director Jason Reitman first collaborated on the smash hit JUNO. In 2011 they re-teamed for the indie dramedy
In screenwriting terms, ‘tracking’ refers to being able to follow or ‘track’ the logic of a premise smoothly. The moment the audience starts to think that the story does not make sense – that the logic of the premise being presented to them doesn’t “track” – their oh-so-fragile suspension of
The Coen Brothers‘ ability to create amazing, ultra-memorable secondary characters with only a few lines of writing is something that all screenwriters can learn from. Consider the giant sea of utterly forgettable characters you’ve seen on-screen in your lifetime. Characters that had pages and pages and pages devoted to them,
In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a short amount of screen time. ZOMBIELAND began life as a TV pilot by writing partners Rhett Reese and Paul Wernick (later behind DEADPOOL). Even in its
The legendary director John Ford enjoyed a remarkably long and successful career, working on over 140 films and winning four Academy Awards for Best Director. His most well known films include: STAGECOACH, THE MAN WHO SHOT LIBERTY VALANCE and THE GRAPES OF WRATH. Ford is noted for the precision of
Conflict is essential in every great story. The amount and complexity of the situation can obviously vary greatly depending on the scope, settings and characters involved. In some cases, loading problem upon problem on your character(s) is important in that it shows what they are made of or it shows
** SPOILER ALERT: this article reveals key plot points from THE WITCH and THE PRESTIGE ** Holed up alone and away from the world, it can be too easy for screenwriters to forget that films are made for audiences. It’s important to consider what the audience is thinking at each point in
Genius Character Reveals: Jay Cavendish In this series we look at scenes and moments where a film or TV show has revealed a great deal of character information in a compressed period of screen time. It seems improbable: a Western from a Scottish writer-director, produced and shot in the UK and
Genius Character Reveals Welcome to the first of our new series: GENIUS CHARACTER REVEALS. In this series we’ll look at scenes and moments where the film or TV screenwriter/director has revealed a great deal of character information in a compressed amount of screen time. As a courtly bow in the
** SPOILER ALERT: this article reveals key plot points from 10 CLOVERFIELD LANE ** Scoped Out 10 CLOVERFIELD LANE is an object lesson in the canny use of scale and stakes. It’s also a brilliant example of the use of scope, one of the most effective – but often neglected
Empire Magazine has been a staple in the film industry for many years. The magazine, and now the website, is seen as one of the world’s leading authorities on film-related content and news. Here at Industrial Scripts we’ve trawled through the impressive back-catalogue of Empire Magazine Articles to bring you ten
In our “Unheralded Scene” series, our consultants nominate a classic film or TV scene, which in their view hasn’t received the admiration it deserves. It might be a scene from a classic movie, which has been crowded out by other, more “showy” scenes and set-pieces. It might be a deleted
The key is writing characters that – crucially – fascinate… Writing great, multi-dimensional characters is one of the hardest – and most important – facets to successful screenwriting. The Holy Grail of characterization – beyond writing empathetic characters, or entertaining characters, or even original characters – is writing fascinating
THE INSIDER INTERVIEWS: BRADLEY QUIRK The Insider Interviews series started in 2010 as a set of recorded interviews, featuring the likes of Tom Hiddleston, Gareth Unwin, who produced THE KING’S SPEECH, Ben Wheatley and Hossein Amini, the Oscar-nominated writer of DRIVE and THE TWO FACES OF JANUARY. You can watch these here. The Insider Interviews now exist as live monthly
Putting A Film or TV Treatment on the Couch Treatments are misunderstood and undervalued. It’s time to investigate why they’re an invaluable tool in the screenwriter’s toolbox. Imagination can be the writer’s worst enemy. Imagining your story in too many genres rather than choosing one (or maybe two) and consequently
Focus On: THE WOMAN IN BLACK (2012) As a direct contrast to last month’s Unheralded Scene from FALLEN, this month we look at a scene that’s completely without on-screen dialogue. The opening scene of Jane Goldman’s 2012 adaptation of THE WOMAN IN BLACK is an object lesson in creating both an
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