Never to begin with a dream sequence - first time I hear something like that.
Why not? Especially if it's a thriller.

Quoted from khamanna Never to begin with a dream sequence - first time I hear something like that. Why not? Especially if it's a thriller.

I think it was don't, begin with a flashback - as there is nothing to flashback to. Why is a beginning with a dream sequence so necessary to opening a thriller!? The story and characters should dictate how a script opens . . .

The camera directions I absolutely agreed with.  It's weird that people use close-ups when the amount of precise description in action lines can sorta show that the audience is automatically zoomed up on that certain object.

To me it's kinda redundant and unnecessary like "we see" in action lines.

Quoted from Eoin I think it was don't, begin with a flashback - as there is nothing to flashback to. Why is a beginning with a dream sequence so necessary to opening a thriller!? The story and characters should dictate how a script opens . . .

I think it was both dream sequence and/or flashback.

No, not necessary, but I'm not against it. Suppose the character in a coma and that's what he do, he dreams. Why not to open with a dream sequence in this case.

Writing We see is just a waste of space, in addition to taking you out of the illusion of the script.

We see a dog run across the street.

can be better written as:

A dog runs across the street.


Phil

Quoted from khamanna I think it was both dream sequence and/or flashback. No, not necessary, but I'm not against it. Suppose the character in a coma and that's what he do, he dreams. Why not to open with a dream sequence in this case.

Well, that would be story and character, who in this case is in a coma, dictating how the script opens - then again most of it would be a dream, or in a world as an extension of the characters conciousness, like The Cell.

But opening with a dream wouldn't apply to the Thriller genre per se.

I hear ya, Phil.

Building rapport right out of the gate is important and I think a lot of script writing tricks like POV and CLOSE UP can kind of hinder that illusion you're talking about IMO.

1. The script is short – between 90 and 110 pages
I agree. Go watch Tarkovsky's "Stalker". It could pretty easily be a short film, but somehow it is 162 minutes long. Nice movie though.

2. The front cover is free of WGA registration numbers and fake production company names.
I agree.

3. The first page contains a lot of white space
I do not really agree. Sometimes you just have to start with lots of black on your first page ("Basic Instinct" for example). Besides, they might open the script at any page.
I would say that chunks of Action and Dialogue should be avoided, when possible, and that the same is true for verbose descriptions. Of course unnecessary details are a "no" for me, and I would suggest that everyone should avoid them. However, this is mostly because I am not a native speaker, so I try to hide my incompetence , but I think you would agree that any details about the unnamed guy who brings the coffee on page 31 are unnecessary.

4. I know who the protagonist is by page 5.
Robocop does not become Robocop at page 5.
"Boondock Saints" has two male protagonists.
"My Little Pony: friendship Is Magic" has six mares as protagonists.
The leading-male/leading-female thing is very old fashioned for me. Between being unconventional and telling an interesting story and being conventional and telling an old story wrapped in a new cover, I would choose the first.

5. The premise is clearly established by page 10
No comment because I can't really find what a "premise" is.

6. Something interesting/entertaining happens in the first five pages
Something interesting and entertaining should happen at every page. We want the reader to stay engaged and boring them after page 5 is not a good strategy.

7. The first ten pages contain plenty of action
Same as 6. Also, there is nothing worse than using action as bait hopping that the viewer will watch until the end. That works for movies like "28 Days Later" but on the other hand it pays too much faith on that the viewer will watch until the end because they paid for the ticket. But in reality it is counterproductive because those who watch on the TV will change channel on a heartbeat and you need as many fans as possible. Fans are not only created when the movie is on the theaters.

8. I can tell what’s going on
I agree.

9.  The dialogue is short and to the point
Say that I want to start my script with a person, a leader like a president or something, giving a speech to their people or troops. If I want to do it, I will do it. My only concern is to do it artistically.

10. The script doesn’t begin with a flashback
I agree. You cannot fade in to a flashback. You fade in to whatever the flashback is. But the viewer cannot know that it is a flashback. Why would anyone… Never mind, I am out of Risperdal.

11. There are no camera directions, shot descriptions, and editing instructions
I like to do things artistically, and in that case this means making the reader imagine the camera directions that I intended. But sometimes however, it is better to do as others said here and simply use camera directions. Between going verbose and using camera directions, camera directions are more preferable. However, they should only be used when is necessary and only when you aim to convey a message or evoke an emotion or emphasize something really important.

12. There are no coffins
Deviating from the PDF route may very easily backfire. The important thing is to have a great story. If you have a great story there is no point risking it. So I agree that grandstandings should be avoided.
Sent the pdf, sign the contract, get the money. Bosh, bosh, shoom, shoom, wallop; DOSH!  Now go the stores that you always wanted to go to, buy the stuff you always wanted to buy and throw your wad on the counter.

Why does a script need to fade in? If a script doesn't need to fade in then it can start with a flashback. What's more, we don't even need to label it as a flashback... shock, horror, sheer aghastment!

The only thing you really need is the ability to tell a good story. Everything else is bullshit, mostly made up as excuses by failed writers. The rest simply analyse films that have already been made then point out the formulas. Some even bottle those formulas and sell the snake oil as 'script doctoring'.

Quoted from DustinBowcot Why does a script need to fade in? If a script doesn't need to fade in then it can start with a flashback. What's more, we don't even need to label it as a flashback... shock, horror, sheer aghastment!

How can you start with a Flashback?  Based on the definition of what a Flashback is, you literally cannot start with a Flashback.

You can start in the 50's or 60's or whatever and then open the script proper in current times, but that's not a Flashback.

To flash back, you have to be in whatever time your script is taking place, first.

Nope... a flashback merely tells of a time prior to the main timeline.

Quoted from DustinBowcot Nope... a flashback merely tells of a time prior to the main timeline.

You have to first establish that main timeline - otherwise, there's nothing to flash back to.

You can obviously start your script in the past and use a SUPER, to show when it is.  Then, when you get to the present timeline, you'll need another SUPER showing what year it is.

Quoted from DustinBowcot Nope... a flashback merely tells of a time prior to the main timeline.

If you're going to describe scene 1 as a flashback, you're telling the reader that they're going back in time from a current point. What's the current point in time?

If that initial scene ("flashback") is in the past before the current time is established, it's simply a scene marked by a prior year in time (1997) or "20 YEARS AGO", then the following scene would follow with "20 YEARS LATER" or THE PRESENT. If it's scene 1 without any context, use of FLASHBACK is a mistake out of the gate.

Quoted from Bogey If you're going to describe scene 1 as a flashback, you're telling the reader that they're going back in time from a current point. What's the current point in time? If that initial scene ("flashback") is in the past before the current time is established, it's simply a scene marked by a prior year in time (1997) or "20 YEARS AGO", then the following scene would follow with "20 YEARS LATER" or THE PRESENT. If it's scene 1 without any context, use of FLASHBACK is a mistake out of the gate.

100% CORRECT!!!!

1. The script is short – between 90 and 110 pages

Disagree - the script should be as long or as short as the story demands.

2. The front cover is free of WGA registration numbers and fake production company names.
I agree.

Disagree - WGA numbers are fine.

3. The first page contains a lot of white space

Disagree. The first page should be well written. As should every page.

4. I know who the protagonist is by page 5.

Disagree. The protag should be introduced at the appropriate page based on the specific story being told.

5. The premise is clearly established by page 10

Disagree - see above.

6. Something interesting/entertaining happens in the first five pages

Disagree mainly because is its a silly comment. What is the inverse - nothing interesting should be happening???

7. The first ten pages contain plenty of action

Just silly, IMO.

8. I can tell what’s going on

I agree. But that really goes with out saying

9.  The dialogue is short and to the point .

Disagree. The dialogue should align with the characters and the plot points. Length is not an objective in and of itself.

10. The script doesn’t begin with a flashback

What is the author saying? Can a script begin somewhere before present day. Sure it can. Can it you introduce a character and three lines later go into a flashback - yep. If he is saying that you can't go this:

FADE IN:

FLASHBACK

Okay - but seriously, what is the point here. It's like saying you can;t start a scene without a scene heading. If he is saying that your first scene can't contain a flashback - then I disagree.


11. There are no camera directions, shot descriptions, and editing instructions

disagree because of the word "no".

12. There are no coffins

Just silly. Of course there can be.

Write good, clear compelling stories (even those with coffins).