How to Write a Movie in 21 Days: The Inner Movie Method by King Viki
Author:King, Viki [King, Viki]
Language: eng
Format: azw3, epub
Publisher: HarperCollins
Published: 2015-03-02T16:00:00+00:00
PAGE 1
Notice the scene you chose here. Does it give us backstory (e.g., a young girl in wedding dress fleeing the wedding on a motorcycle)? In other words, do we have a sense that someone already lives and we’re just joining them at this moment? Have you given us a sense of place, time, tone? If it’s a comedy, is there a joke yet? Do we know something about the flavor of the world you are presenting? Do we see character?
WHAT TO LOOK FOR
Is your first page very tight with detail, every nuance captured, no gesture left to chance? Did you work and hone and perfect this? Are you now quite proud of it? Look at it now. You have camera angles and more than three details to introduce each person and place. Is your first page mostly description? Free yourself from this right away. See where you can replace tight details with just three choice words.
Give us a general picture. Let’s get the mood and atmosphere. Yes, do choose the details that are going to give the audience information, but hone down. Coco Chanel said, “Get dressed—just before you walk out the door, take off one piece of jewelry.” It’s the one piece too many that you don’t need. See what detail you can eliminate now.
NOTE: What you’re writing here is a script to be read. Before it’s a shooting script it’s a reading script. Get the reader interested—paint word pictures. (It is a known fact that 80 percent of producers only read 20 percent of the description.)
If you are visually imaginative or action-oriented, you probably have great sweeping movement—out of the plane, through the airport, into the limo, onto the turnpike. Fine. What’s happening? There is a difference between movement and action. If nothing is revealed about the character or the story or the mood or the atmosphere, all that visual “noise” doesn’t amount to anything. Replace movement with action.
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