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This article explores the three rules for writing a good script, the misconceptions about film projects, and the importance of script quality. It also discusses the factors that decision-makers consider when evaluating a script and the role of reader's reports in the script development process.
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successful RUN, LOLA RUN by Tom Tykwer (1998)
successful GOOD BYE, LENIN! by Wolfgang Becker (2003)
successful THE LIVES OF OTHERS by Florian Henkel von Donnersmarck (2006)
successful RABBIT WITHOUT EARS by Til Schweiger (2007)
successful THE WHITE RIBBON by Michael Haneke (2009)
…but what is a good script? there are three rules to a good script - but nobody knows one of them (Paul Schrader) • „nobody knows anything“ ! ? • everything is subject to individual taste ! ? • a good story is an original story ! ? • dramaturgical craftsmanship or anti-structure ? • identity or meaning ? • …and what is it about the communication with an audience???
8 reasons for rejection beginning is unclear, complicated & does not get you into the story protagonist is too passiv sagging second act does not advance to the third act ending is too sudden or too explicative or still open facts are lacking research story is too complex, overcharged, wants to please everybody & everyone dialogues – too many / too bad nothing new - ‚we had it all before!‘
nobody knows anything… with lack of competence & waiver of quality check… …. what do we get? • misconceptions or pseudo-communication about filmprojects • absence of talks about optimization of a script • wrong diagnosis of a script with financial risk • a product left to mere chance let‘sgettheopinionoffunders…
…so what is a good script? a goodscriptis not everything, but without a goodscripteverythingisnothing!(unknownauthor) • is emotional • is locigal • knows it‘s rules • works with people! a good script
some facts in business • filmstoriesare • theraw-material & thekeycurrencyofthe film business • a promiseto a latter film • not exclusivelyartistic, but also an economicproduct • no product is offered to a market without a quality-check! • products with quality-check sell better!
… and some more facts • there is no routine in the filmbusiness • filmmaking isteamwork, but business-people‘s know-how is heterogenious • the relation of scripwriter & producer is important • there is a interlocking of development & production processes • money is the foodstuff of film let‘s think strategically! • what is quality? - it can be planed!
here we have a nice script! • is it a good idea & a strong concept for a filmstory? • is the story logical & emotional? • does it follow rules? • is it standard or something else? • does it communicate? • can it be summarized it in two or three sentences? • potential for cinema or television or both? • potential for larger or smaller audiences? (best represented by the theme) • is it a good script? the quality of a script can not be objectively measured or ultimately prooved to determine the quality of a script is far reaching & difficult, but also with all chances
check and double check you have been working for long on a script? writer, co-writer, dramaturg, producer know exactly what they want & know their project by heart? but there is this uneasy feeling … have a bird fly over it & have a good look on the whole!
the reader‘s report – what is it? • first& mostobjective, easy attainableassessmentof a filmscriptat a certainpointof time • quality check & decisionaidalong professional standards, appliedto individual materialsfor a script • 3 to 4 page-expertiseof an independentreader • with a • summary • examination & evaluation • final rating
for whom? writers directors producers dramaturgs editors financiers funders distributors banks agents (audiences!) on the desks of producers & editors usually unsolicited sent in scripts pile up… financiers & distributors want to sort out the promising idea sketch from an only feasable skript… actor‘s agents look for leading roles in quality-scripts – strong, cool, hipp & relevant
at any step to a final script idea story outline treatment step outline first draft further drafts director‘s draft final script (shooting-script)
types of reader‘s reports • reader‘s report • second opinion • reader‘s report in comparison • reader‘s report for legal purposes • Story-Notes • advanced reader‘s report
reader‘s standard for story notes max. 5 Pages no synopsis a technical listing of things – no elegant prosa clear structure, easy reading What decision-makers want to know: not only identification of problems, but rather radical solutions how does the film work in the head of scriptwriter or producer what is his vision for the film?
10 chances of a reader‘s report avoids blindness to the shortcomings in one‘s work & possible disappointment triggersnecessary irritation initiates discussion & new directions of thinking and developing considers the marketability of a project serves as argumentation aid best at the intersection of writer, producer, editor & funder safety net for decisions in a company or institution ready made information – also for subsequent use saves money & life-time easy to get & for little coin!
last not least: 3 truths Ifyouhave 10 readersreadyourscript , you will get 10 different opinions ! (unknown) Personal choicesandfeelingsaretheelementsofthecreativeprocess, whichisuniquetoeveryscreenwriter, andtoeachandeveryscreenplayandfilmproject! (Philip Parker) Youare an artistnowandthen, but youhavetobe a craftsman all the time! (Andrej Wajda)
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