screenwriter 
La script is a text intended to be shot or film, and then become a film
. It is the first and fundamental step in the realization of all the films and television
fiction. The writer is the '
author who writes it.
screenplay and the play
At first glance, a screenplay is not very different from a theatrical text
. Even in the script shows the dialogues of the characters
, with some indications of their intentions, and describes the actions and the environments in which they take place. Sometimes you can find in some scenarios even information on the movements that the camera
should do, such as resume 'actor
first floor
(or close by enshrining only the face) or in the field
long (ie from a distance). But it is more likely that these choices are left to the director
.
a play can know a virtually unlimited number of representations very different from each other: two stagings of the same drama of Shakespeare
can come to seem like two completely different stories. Instead from the same script to be made two different films is a fact that has almost never occurred. It is not hard to find in the library of scripts, for example,
Woody Allen, Pedro Almodóvar
or Quentin Tarantino , in addition to being directors are also writers, but it is hard to imagine them made by someone else.
The screenplay is a project, and the only value of the project, which will need to be developed and made the contribution of other languages. But like any project, contains the key elements that decreed the success or failure. History is a responsibility of the writer and without a good story is hard to make a good film.
scriptwriting
Scripts can be born of original ideas, or may be based on
novels, dramas
or even on other scripts. In each case, writing the script usually follows the following steps:
Idea subject treatment lineup script.
The subject is a clear and relatively short history (1-5 pages). Treatment is instead a narrative larger (around 30 pages) that may look like a literary novel, with descriptions of places, psychological motivations of characters
and some indication di dialogo. La scaletta è la sequenza "tecnica" delle scene, con una brevissima descrizione di quanto accade in ognuna di esse; serve a mettere in evidenza il ritmo e la progressione della storia e le eventuali falle da correggere. Il prodotto finale, ovvero la sceneggiatura completa di un
lungometraggio , supera di norma le 100 pagine.
Quando la sceneggiatura è basata su un
romanzo , molto spesso lo riscrive completamente e in ogni caso deve necessariamente operare una ristrutturazione della storia. Il romanzo utilizza una modalità di racconto che non può essere trasposta nella sceneggiatura così com’è, per via della diversa durata e del diverso meccanismo di fruizione dell'opera.
Nei film is sometimes also made a
storyboard, a series of designs that anticipate some shots, as should appear on the screen. The storyboard is actually made by a designer, when the writer has presented the work and is probably writing something else. It is a practical tool that serves the director and producer to work better on
September, prepare only what is actually framed, especially in highly complex scenes, it helps give an idea unique to all members of the crew (ie the of people present on the set) of how the scene should be.
A particular form of script is derived, which is a complete transcript of the film by film buffs and scholars normally. It has nothing to do with the film's production, but only with a possible critical analysis.
layouts scripts
In terms of formatting the page, there are three different models:
Italian screenplay screenplay screenplay
American French.
In the first model, the Italian, the text is divided into two parts longitudinally arranged: on the left there is the descriptive part, that the captions appear in the dialogues of the characters right, then as the page is divided into two columns. In addition, changing page every scene change.
The American writer, however, has both the captions that the dialogues in the central part of the paper, the labels will take up the whole width, while the dialogues are arranged in the center, built in a small margin.
The French model is summed up in a middle ground between the other two (top center providing a descriptive part and the lower right part with dialogue). However, it is the least used of the three. The screenplay
Italian is convenient because each scene changing page to the perusal of the script makes very simple: making it possible to aggregate the various scenes in the unity of place, so as to maximize the shooting. All movie scripts Italian Foreign
'40s and the decades since then have this format.
Today, however, the most widely used layout is exactly what American, which offers better readability. There are special programs for the layout that make it easy for the American word, and are also able to calculate the duration in minutes of each scene and the entire script. In addition, the computer can do the job of counting automatically. In the American model
required font is Courier 12 point. The names of the characters and the headers of the scenes are written in all capital letters. In the header you need to write the place where the scene is set, when it occurs esterni (all'aria aperta) o in interni (in un qualunque ambiente chiuso) e alla luce di giorno oppure di notte. Le didascalie sono tendenzialmente prive di orpelli letterari e tendono a descrivere ambienti e azioni in modo chiaro e sintetico.
Il layout della sceneggiatura rappresenta, però, un solo aspetto del "Formato" che ne comprende anche altri. I programmi esistenti per computer possono, comunque, solo aiutare chi conosce già le scelte di formato che vanno fatte.
Il formato di sceneggiatura
Il formato di una sceneggiatura è un insieme delle convenzioni che aiutano lo sceneggiatore a trasmettere al produttore ‘l’immagine’ possibilmente più suggestiva di un film, espressa in parole scritte. Il formato viene applicato innanzitutto per aumentare la trasparenza e comprensione della sceneggiatura. Il formato comprende tutti gli elementi che sono formalizzati nella sceneggiatura, ovvero non appartenenti al soggetto come tale. La nozione “formato” comprende quindi i tre seguenti argomenti:
(1) La conformità dei caratteri, degli spazi tra le linee e delle dimensioni della composizione. Da questo risulta la seguente dipendenza: una pagina del testo scritto corrisponde ad un minuto della proiezione di un film. A differenza degli standard americani, dove è obbligatorio il carattere Courier 12 e il formato della carta US-letter, in Europa i fogli hanno formato A4 ed i caratteri sono diversi.
(2) Lo schema grafico, the so-called layout, or how to introduce and arrange the different elements of the script (dialogue, scene headings, parentheticals, transitions, etc.)..
The modern layout of the script dates from the time of the birth of the first sound films. In the movie studios were then created separate units dedicated to the development of dialogue and the subject. These units were different from the point of view of the schematic of the elements introduced. To date, this helped the actors to distinguish between the spoken and the actions to be done. Even from the perspective of the layout of the European system is not uniform (see "Layout of the scripts": the Italian method, the French method).
(3) The typical grammar for the script, used by screenwriters. This grammar should be viewed in two ways:
(3.1.) Style 'protester' ('manifestation oriented style'), or the use of expression largely limited to present a clear and concise in what you can hear and see on the screen. However, this style leaves the writer the freedom to show a wide range of films.
(3.2.) Encryption, which is seen in the changes of the common conventions of narrative. For example, without interrupting the flow of the narrative, we stress the important objects or sound sources in-action; distinction is made between those who speak out of range (in off) and who has the role of the narrator, and so on.
In fact, the specific grammar of the script is used since there are scripts, but in the U.S. it has taken important when the writers were no longer guarantee to sell their work within the system of film studies. Now, to sell the script, the writer must use the style 'demonstrator', that is the 'manifestation oriented style' - which facilitates the transmission of the texture and attractive way in which it is told.
Given the different market conditions of the film, various countries in the format of the script has a priority differently in the potential customers.
