Brigitta Manthey. 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.
RUN, LOLA RUN by Tom Tykwer (1998)
GOOD BYE, LENIN! by Wolfgang Becker (2003)
THE LIVES OF OTHERS
by Florian Henkel von Donnersmarck (2006)
RABBIT WITHOUT EARS
by Til Schweiger (2007)
THE WHITE RIBBON by Michael Haneke (2009)
there are three rules to a good script - but nobody knows one of them (Paul Schrader)
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!‘
with lack of competence & waiver of quality check…
…. what do we get?
a goodscriptis not everything, but without a goodscripteverythingisnothing!(unknownauthor)
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
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!
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
final script (shooting-script)
max. 5 Pages
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?
avoids blindness to the shortcomings in one‘s work & possible disappointment
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!
Ifyouhave 10 readersreadyourscript , you will get 10 different opinions !
Personal choicesandfeelingsaretheelementsofthecreativeprocess, whichisuniquetoeveryscreenwriter, andtoeachandeveryscreenplayandfilmproject!
Youare an artistnowandthen, but youhavetobe a craftsman all the time!