Script Analysis

The Script.

As this is the main source for our film content and where we will be working from for this project, I figured that I should perfect the script as best as I can through analyses, research and adjustments as well as enquiries with my director. I decided that since we aren't making the film, I ought to make sure the script is completely perfect before it is submitted as the final script for the project. 

Original

Here is the script in its initial form, as it was submitted for the Pre Production unit.

I did some of my work on Google Docs but that application doesn't work with tabbed in lines (putting it in the correct format) so I had to write the script on Microsoft Word, which worked better anyway.

Speech

Using Word's 'Markup' feature, I read through the script and made a few changes to the speech in the script, making sure that all of the speech developed either the character or the story. Everything needed to be necessary and doing something for the story. Everything in red is what I changed in the script. As an example, one of the changes I made was to scene 15. Rob says "You scared my friends", but I changed it to "You scared my friends, Dad. On my birthday". I did this because it highlights how annoyed Rob is, and how much Martin is hurting Rob because it also highlights that he caused this negative experience on a day that Rob is supposed to be able to enjoy. I think it hits a bit harder with the change. 

Action

Secondly, I went through the action in the script and checked the descriptions of what's happening. I didn't want them to be too heavy on directing the action as that's what Esme does, but I did want to make sure that it was clear to understand and built the scene around the speech. I also made a few grammatical changes.

One of the changes I made was that Rob would put Martin's coat under his own when tidying the flat for his friends to come over. This shows to the audience that he doesn't want his friends to be aware or reminded of his Dad's presence, and that enforces an idea that they don't like Rob's Dad.

Format

In order to make sure the script is of a professional standard, it needs to be in a proper script format. To make sure I got this right, I used Screencraft's Guide on how to format a script in the Master Scene format.

According to Screencraft, this format is made up of 6 elements: 

• Scene heading
• Character name
• Action
• Parenthetical
• Dialogue
• Transitions

 Here is how I've made use of all of these elements:

The grey header is the scene heading. Here, the reader can see if the scene in interior or exterior, where it will be shot, and what time of day it will be shot. This allows the viewer to imagine the writer's vision easier.

Under this is the action. This allows the reader to know what is happening in the scene and adds a visual element to the writing.

Thirdly, there is the character name and dialogue. This section is useful for the actors reading the script. It might change during shooting if the director or actor feel that there is a more natural way for them to deliver the same development to the story.

Also next to the dialogue is a parenthetical. This gives a suggestion of how dialogue should be delivered, however, these should be used moderately because this is usually a decision to be made by the director and/or the actor. An example of an appropriate use would be '(whispering)' or '(shouting)' but again, this should only be used if it can't be suggested in the action or the dialogue themselves.

Finally is the transitions. I didn't use a transition in this scene but they should also be used sparingly. They indicate how one scene moves to the next scene such as 'CROSSFADE OUT' and then in the next scene, it would start with 'CROSSFADE IN'. This shows the viewer that the editing will blend the end shot and beginning shot together so that they flow.

Finally, there are specific border measurements that should be used for the script so that one page is one minute. This can be complicated to do on a Word document so I put the script into Celtx which properly formats the script for me. Above is the final product. I also got the placement of parentheticals wrong so it changed that for me as well, and now the script is at its most professional layout.

Director's take

As a writer, once the script has been completed and passed onto the director, they don't have much if any creative leverage over the film. In TV, there will be teams of writers who work together on scripts to bring it together. However, as I'm filling the role of both writer and producer, I'm able to take the script into production and have a producer's level of creative input. I have a vision for the script, but now that it's in the production stage, I am limited on what I can do with the film because that's now Esme's job. I have control over locations and actors, as well as sometimes the costume (although this isn't really relevant to High Tide). This being said, myself and Esme have worked together on projects really well in the past. We never overtake the others' job role, but we accept suggestions from either person at every stage in production. During writing, we would have meetings and discuss the scenes that I had developed by that point, as well as going through any problems I was having during writing. This meant she had input on the plot. And so during production, I'm able to aid Esme creatively and if she isn't sure how to envision a scene, I can give my input on how I saw it when I wrote it and we can both build on the project together.

It's important to get other opinions as you work. The script is the starting point for any film or show, but the film won't have full similarity to the script once it's finished production. Collaborating on both the script and the film is a positive way for me and Esme to work because we bounce and develop off of each others' ideas. This doesn't necessarily work for all crews and it's not necessarily how other films are made. But it's a good way to ensure that everyone feels that the film belongs to them in some way if they're involved in production right from the very beginning.