The Anatomy of a Screenplay Part 2 — Formatting Techniques to Elevate Your Script

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THE ANATOMY OF A GOOD SCREENPLAY — Most screenwriting follows strict formatting conventions, but there are some elements in a script that require a bit of experimentation, like audio elements, graphics, and certain plot devices.

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Chapters:
00:00 - Introduction to Anatomy of a Screenplay Part II
00:54 - What is a Screenplay?
02:00 - Chapter 1: Audio Elements
07:32 - Chapter 2: Graphic and Text
10:18 - Chapter 3: Plot Devices
12:47 - Takeaways

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THE ANATOMY OF A SCREENPLAY PART 2

Screenwriting has countless conventions, from formatting dialogue to describing a setting. Typically, screenwriters have to squeeze their creativity into these rules, finding ways to remain original while adhering to a structure that can be easily understood and read. This is because for a screenplay, readability is paramount. The basic elements of a script are there so that any cast and crew member can quickly comprehend what is going on in a scene.

But there are some elements of a screenplay that aren’t so simple. We look at screenplays by the likes of Aaron Sorkin, Quentin Tarantino, Christopher Nolan, Tony Gilroy, and Phoebe Waller Bridges to see how legendary writers format unconventional elements of a screenplay.

MOVIE SCRIPT FORMAT FOR AUDIO

The most obvious sound that a screenplay clearly outlines is dialogue. But even this aspect of the anatomy of a screenplay can take different forms. Take a phone conversation, for example. Depending on how the writer sees the conversation being depicted, talking on the phone can be represented a multitude of ways on the page.

Interruptions, too, can take different forms. Some writers will use a dash, some writers two dashes, and others a forward slash. There’s also dual dialogue, where actors are talking over each other. Of course, language, too, has to be taken into account. Different writers have different methods for formatting foreign language elements of a screenplay.

HOW TO WRITE A SCRIPT WITH GRAPHICS/TEXT

More and more often, movies have on screen text to represent digital communication between characters. This can be done in countless different visual ways. Likewise, there is no one rule for representing texts in a script. The same goes for signage. Some writers will depict what a sign says in all caps, others will bold it, others will write it like any other words in action lines.
ELEMENTS OF A FILM SCRIPT: PLOT DEVICES

There are concrete rules for how to tell a linear, conventional story in screenwriting. But when that story becomes non-linear, things get a little more nebulous. Take flashbacks, for example. Some may write “insert flashback,” others just “flashback,” and others might not even note it. The same goes for dream sequences and quick successions of shots.

Despite its plethora of rules, screenwriting is an artform. There may be some formatting conventions you have to follow so that your script doesn’t get tossed in the trash by an overworked reader, but there are others you can bend to your own creative ends.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Babylon" - Justin Hurwitz
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"Quantum IV" - Makeup and Vanity Set
"Approaching the Shimmer" - Ben Salisbury and Geoff Barrow
"Red Bats With Teeth" - Angelo Badalamenti
"Theme for The Irishman" - Robbie Robertson
"Neo On The Edge" - Don Davis
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"Dramatic Choral Music" - Kyrie
"Code Red Semper Fidelis" - Marc Shaiman
"The Green Leaves of Summer" - Nick Pertito
"Norville Suite" - Carter Burwell
"Main Titles" - Bourne Identity
"Late For School" - Theodor Shapiro
"So Was Red" - Thomas Newman
'The Killer Theme" - Trent Reznor and Atticus Ross
"Introduction" - Trevor Rabin
"American Prometheus" - Ludwig Goransson
"Riots" - AR Rahman
"First Meeting" - Jerry Goldsmith
"One More Thing" - Richard Gibbs
"Secret Agent" - Jerry Goldsmith
"Fade To Black" - Metallica

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