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I know the beer has helped me get through it I was scouring through old emails ( for some reason I don't delete them) and what did I come across from DEC 2011 ... THE DOLL Your first feature.
I know the beer has helped me get through it I was scouring through old emails ( for some reason I don't delete them) and what did I come across from DEC 2011 ... THE DOLL Your first feature.
Your still one of my fav writers/storytellers
Fellow red, good to see you
I’ve been away probably about the same amount of time - haven’t written in ages.
Back to more important topics, I like our squad this year. Just got to stop the goals going in!! And Is it me but was Shakari a snip for £12m?
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Bill ! What's happening bro? Glad to see you're back writing. I won't hijack the thread on football stuff and Steve Clark bashing cuz both are too easy... But looking forward to this season more than in the last 10 years... Great transfers fellow red YNWA
Just to share an observation, these scripts are likely to break the rule of thumb of one page = one minute of screen time. Dialogue is what makes that rule of thumb work, often by using up pages that might otherwise not be there as characters act or vistas linger on the screen for the same period of time.
A good example is "All Is Lost" (which is a terrific sample of what we're doing here if you want to see how it's done really well). That script was 32 pages for an almost 90 minute movie. Each important action in the script plays out across a minute or more on screen, so one page often translates to four or five minutes of screen time.
Our little 6 page scripts could easily become 10-15 minute shorts when filmed. Think about that when picturing it playing out, give the action time to breathe on the screen in your head.
Just to share an observation, these scripts are likely to break the rule of thumb of one page = one minute of screen time. Dialogue is what makes that rule of thumb work, often by using up pages that might otherwise not be there as characters act or vistas linger on the screen for the same period of time.
A good example is "All Is Lost" (which is a terrific sample of what we're doing here if you want to see how it's done really well). That script was 32 pages for an almost 90 minute movie. Each important action in the script plays out across a minute or more on screen, so one page often translates to four or five minutes of screen time.
Our little 6 page scripts could easily become 10-15 minute shorts when filmed. Think about that when picturing it playing out, give the action time to breathe on the screen in your head.
It's a fair point, but much like fingerprints everyone's got their own individual styles. You could have a Sorkin 180 page rambler with monstrous descriptions, or you could read a skinflint dialogue heavy sitcom script.
Sometimes it kills me round these parts when folk start banging on about over descriptiveness, as it's done ad nauseum in the real world where one page doesn't necessarily come close to one minute. I suspect it is something to do with being used to reading short scripts and expecting to be able to fly through them.
In my book, and all opinions are valid, so long as the descriptions work and the formatting is down pat, the script is a valid entry. It's the story that really should make it click...
It's a fair point, but much like fingerprints everyone's got their own individual styles. You could have a Sorkin 180 page rambler with monstrous descriptions, or you could read a skinflint dialogue heavy sitcom script.
Sometimes it kills me round these parts when folk start banging on about over descriptiveness, as it's done ad nauseum in the real world where one page doesn't necessarily come close to one minute. I suspect it is something to do with being used to reading short scripts and expecting to be able to fly through them.
In my book, and all opinions are valid, so long as the descriptions work and the formatting is down pat, the script is a valid entry. It's the story that really should make it click...
Visual writing is always the goal. A good writer can write in a way that a "good reader" can see exactly what he or she wants them to.
The problem is that few are good readers and even fewer are good writers.
As to the story being king, well, that really comes down to one's opinion. There are very few stories that are universally good or great. At least IMO.
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Summer Heat OWC
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