Re: Scene Headings
Guys,
What the reader is looking for is the feeling that the writer of the given screenplay has authority over, and command of, the material. This authority grows in the reader a sense of calm, an ease, that allows the reader to get sucked into the story.
It's like a magic trick of sorts. Or a form of hypnosis. When I say trick and hypnosis, I am not talking about putting one over on anyone, but the opposite. Because this authority only comes through hours put in, serious thought, and an honest, though critical, love of the story you are setting out to tell.
And so if you do it by following a traditional approach, that can work.
And if you do it in a less traditional manner, that can work too.
Here's how I opened Solitary Man. Now, the sticklers among you will notice that I broke a great many rules. And some will think that I 'got away' with it because I was a produced writer already or because I was directing the movie.
But I didn't 'get away' with anything. I was trying to create an effect. To get the story I saw in my head into the reader's head and then onto the screen.
Decide if it works (and it's fair if you think it doesn't).
And, whichever you decide, ask yourself why...
Guys,
What the reader is looking for is the feeling that the writer of the given screenplay has authority over, and command of, the material. This authority grows in the reader a sense of calm, an ease, that allows the reader to get sucked into the story.
It's like a magic trick of sorts. Or a form of hypnosis. When I say trick and hypnosis, I am not talking about putting one over on anyone, but the opposite. Because this authority only comes through hours put in, serious thought, and an honest, though critical, love of the story you are setting out to tell.
And so if you do it by following a traditional approach, that can work.
And if you do it in a less traditional manner, that can work too.
Here's how I opened Solitary Man. Now, the sticklers among you will notice that I broke a great many rules. And some will think that I 'got away' with it because I was a produced writer already or because I was directing the movie.
But I didn't 'get away' with anything. I was trying to create an effect. To get the story I saw in my head into the reader's head and then onto the screen.
Decide if it works (and it's fair if you think it doesn't).
And, whichever you decide, ask yourself why...
Code:
OPEN IN: A NEW YORK APARTMENT Spacious. Modernist furniture. Some black lacquer. A man's voice is heard. From his tone, we can tell he's used to people listening when he speaks. BEN (V.O.) The day I turned thirteen... TRACK into... THE BEDROOM... BEN KALMAN sleeps. BEN (V.O.) ...Actually, it was the night I turned thirteen, after the party and the envelopes and speeches and all that... An alarm buzzes. Ben slowly sits up. It is a rare unguarded moment. He doesn't let anyone see him like this: untucked, groggy, wearing all of his 55-plus years on his face. It takes him a long moment to reach for his bathrobe and put it on. BEN (V.O.) ...My father came into my bedroom, put a hand on my shoulder and said, "Ben, a lot of guys are gonna tell you a lot of ****. But what I'm gonna tell you applies across the board. Business, personal, whatever, what-have you... He reaches into a bottle of children's aspirin, swallows one without water, and moves to the... BATHROOM Ben checks himself in the mirror. Pulls his robe tight. Slicks his hair with his hands. BEN (V.O.) "Son," he said, "**** 'em where you find 'em, and leave 'em where you **** 'em..." Ben clears his eyes, splashes water on his face. BEN (V.O.) He was either a hundred per cent right or a hundred per cent wrong. I'm still not sure which. Ben takes one more look at himself in the mirror and leaves the bathroom as Johnny Cash's version of Solitary Man begins to play. CUT TO: CITY STREETS CREDITS roll and the song continues as Ben moves through the Upper East Side streets of Manhattan. This is Ben as the world sees him: almost sixty but fighting it hard, he walks with the authoritative air of a man who usually gets his way. Note: Throughout, Ben always wears black Armani, black slacks, black jeans, black sweaters, black shoes. Even his hair is black, as long as he goes to the colorist once a month.
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