Writing the right kind of script to your DIY feature is crucial. It is probably better to start off at 10 minutes rather than trying to get together an epic 180 minute marathon. Buying a modern screenplay book to get pointers on formatting. Faber & Faber have a reputation for publishing the best of these, from the ubiquitous Tarantino, to Scorsese’s Taxi Driver. If you look around you might even find published screenplays which are non-violent and don’t involve crime!
Mapping out your story
There are lots of mysterious rules ‘professional’ scripts must adhere to. Making a screenplay for yourself is different as all you need to know are the basics to map out your film.
• Develop your lead character and flesh it out.
• Come up with a set-up. Some interesting situation or objective your character wants that will help you set out a plot
• Map out a beginning, middle and end for your plot. Remember each page should correspond to around a minute in screen time. Feature scripts are usually around 100 pages broken down between the three acts as 30/40/30. Between each act there needs to be a twist.
• Write the beginning, setting up the story, developing an intriguing, interesting background.
• Act 2 sees the situation developed, with the character fighting for what they want. The end of act 2 has your character come up against an unpredictable element which is introduced for Act 3.
• Here, everything builds up into a crescendo of activity until there is a successful resolution in the plot and for the character.
If you are making a short (which it is wise to do on your first attempt!) then remember to start later in the story than you would if you were writing a feature. It also needs to be more unpredictable, as you don’t have time to build up any subtle characterisations or complex plots. There are a multitude of screenplay resources on the web which go into more detail on proper formatting for your script once you have your structure.
Low-budget tips
You have to keep your story under control if you want to be able to actually film it. Take stock of what is available to you, and what you should avoid writing about in the script, and be particularly careful of:
• Characters: Don’t have too many. Remember it’s easier to manage fewer people, and to concentrate on fewer characters, so the viewer gets more interested in them. This will help focus your writing too.
• Locations: Exotic locations are out of your reach, unless you’re using virtual sets. Your script shouldn’t use a myriad of locations just to try to keep the story going. This is done by the character’s mental and emotional journey, not literally through there physical one. Even Bond revisits certain locations, and each represents a specific challenge or opportunity for him.
• Special effects and firearms: This used to be much more of a problem when the software tools weren’t available generally to do this on screen. Now you can get explosions and suchlike, with varying degrees of success. A major consideration is if you or the person who is adding effects to your film has the expertise to do this. If you aren’t going for full-on replica firearms in your movie then it’s easy enough to get a decent-looking fake gun.
• Stunts: Some stunts, like levitation, can be performed in the computer, but more advanced stuff where the person needs to interact with their environment much more is harder.
• Opticals: In traditional filmmaking these were expensive. As we are doing everything digitally it doesn’t matter. But be careful and restrained. Cheesy Top of the Pops-style wipes don’t look professional, but you can still expand form the usual dissolves and wipes. Black-outs and flash-outs (where the screen flashes up to white) are particularly effective.
• Exteriors in public places: With a small crew you shouldn’t cause too much of a disturbance, but remember that you don’t want passers-by gawking into the camera to give your footage that amateurish feel.
• Night shooting: Video shoots better in daylight, and you need really good lighting in the evening and and night to get good footage.
• Crowds: You’ll need to film surreptitiously in crowds otherwise forget it. You’ll have someone asking you every ten minutes what you are doing – probably in a middle of a take. Also remember the sound will be atrocious in this environment.
• Music: If you want to sell your film, rather than screening and sending it to friends and using it for personal use, then remember commercial music will have to be bought, and you could be infringing copyright if you try to sell or screen in public the film with the music on it. Can you get around this by using stock music, or that which has lapsed on the copyright (like much classical and religious music), or songs and music from a local band?
• Time period: Scripts set in this decade won’t require any major special dress or wardrobe requirements. Don’t try to make one of Jane Austen-style frill-fest out of old curtains, you’ll only embarrass yourself.
• Make-up and hair: Low maintainence here is good. You must think about the continuity in shooting and whether you are going to be able to persuade an actor to shave all their hair Demi Moore-style if the role demands it. At the same time unusual hair and make-up can give your film a unique edge (think David Lynch’s Eraserhead).
Once you’ve considered all these points and checked out the latest fashionable screenplay for form, then you may want to get serious and search out the two essential screenplay books – Screenplay by Syd Field (Dell, around £8), or How to write a movie in 21 days by Viki King (HarperPerennial, £7)
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