Reflection on Storyboards & Scripts

Over the past few weeks, we have looked at the production of scripts and storyboards. To learn further from this, I have produced a script and a storyboard of my own to go alongside coursework. Whilst the script was based on an original idea and full of codes and conventions for an audience member to easily identify that script's genre, the storyboard was my interpretation of a novel that has not been adapted into a film in the past.

 

 

WHAT I LEARNT ABOUT SCRIPTS

 

Out of the two ways of producing a movable media text, the script is the most easiest for an audience member to clearly identify that text's genre, themes and setting. A script is also easier when a producer or a writer wants to illustrate a text's opening sequence. There are several layout requirements that allow a script to appear professional. A professional layout is particularly important if a person wishes to send a script to a studios or production company in order to pitch their idea. Those requirements are:

 

• The font is in Courier and in 12pt. This is the font that is used by most TV and film scripts and looks formal. The 12pt size is large enough for a consumer to read it but small enough to allow enough writing on the page as possible.
• One page (except cover page) = Approximately one minute screen time.
• An opening sequence should only be about three pages long. If any longer, the opening sequence would not be concise and could lack relevancy. If any shorter, the reader may be unable to identify themes, character relationships or, importantly, the genre of the script.
• In the opening sequence, make sure you introduce the narrative, time period, genre, setting and any important characters.
•  Clearly make out the difference between dialogue and scene notes or descriptions. The best way to do this is to have the description in bold.
• To include dialogue, indent the character's name to the centre and align the speech underneath the name. Do not use speech marks as this does not look professional!
• Indent any scene transitions on the right.
• Number scenes to make the script more easier to read (even if the text's layout of events is non-chronological for the purpose of the theme or genre).

This is an example of what a cover page for a script should look like:

When it came to me producing my own script, I decided to base my text in the Thriller genre. As this is a genre that I am really considering to base my final project on, I thought that this would be a great opportunity to gain an insight of how difficult producing a script in this genre could be. I found it quite hard to create a thrilling script  because I was unsure about typical codes and conventions for this genre. I know that most thrillers have negative themes so I also wanted to base my text on issues that were quite negative. I also wanted the text to explore social issues that affect a contemporary society because this will allow my text to relate to the audience on a more personal level. My script depicted a short confrontation between a middle-aged man and his teenage niece. Her reluctant actions soon reveal to the audience that she is a victim of physical abuse. I thought of several articles that were in the news during the past few years as inspiration for the script because I fortunately have not experienced this first-hand. I also sought inspiration from these articles because I wanted it to be a respectful approach towards the sensitive subject.

 

In today's lesson, we shared our scripts around in groups and everyone had to try and guess what genre my script was by placing their answer on a post-it note then slipping those notes in an envelope with my name on it. Some people were unable to pick out what genre my script was and this is something that I will definitely need to work on in the future by watching several thriller films and picking out codes and conventions that are within all of these films. Like I did with the previous script task, I could also analyse examples of thriller script openings on IMSDB.

 

WHAT I LEARNT ABOUT STORYBOARDS

 

The storyboard is a way of planning how you could illustrate a movable text. This form of pre-production planning is effective for texts in the fantasy, anime/animation or action genres where the film's visual elements are really crucial when it comes to capturing an audience's attraction and interest. Visual effects such as explosions and CGI characters may be difficult to describe in writing so the storyboard allows an artist to draw that effect on paper where it is clearer. This is an example of a good storyboard:

 

 

A storyboard should contain the following information:

• Shot Numbers - allows a clear structure for viewers to follow.
• Shot transitions - cuts, fades, swipes, etc.
• Labelling of mise en scene to help establish shots.
• Shot proximity - close-ups, long shots, over the shoulder shots, etc.
• Any speech cues
• Any sound notes (diegetic/non-diegetic)
• Extra camera information - pans, zooms, hand-held shaking

 

For my storyboard, I decided to base it on a novel that is within the same genre as my script: thriller. I decided to do this because this would benefit me in future coursework for my final project. I am not a keen artist so I knew that before I even started this task that I was going to find this difficult. I produced a storyboard of my interpretation on the opening paragraph for the novel Casting Shadows Everywhere  by L.T Vargus. The opening paragraph describes how Jake, the protagonist, is one minute being his care-free self then, the next, is rolling around on the floor after being kicked in the crotch by his tormentor, Tony. I wanted to be imaginative when it came to illustrating how he suddenly went from flipping off the table to being so low on the floor. Rather than being realistic, I wanted it to have an alternative, non-naturalistic edge so that the storyboard was my own interpretation rather than copying the author.

 

CONCLUSION

 

What I can take away from this experience of producing a storyboard and a script is that I feel more confident in writing a script because I feel a lot more confident writing than I am drawing. Although I will need to work on incorporating clear thriller codes and conventions into my script in order for it to be more exciting and accurate, I am going to plan my final opening sequence using a script. I am going to use a script because I am staying away from using visual effects in order to enhance the piece's realistic effect.

 

 

 

 

 



Scripts and their Interpretations Part 2

For the second part of this task, I have looked at several other examples of scripted introductions and how they introduce a film's storyline, setting, genre, period of time and any important characters. For my final project, I have decided to create a psychological drama. I chose this sub-genre because the basis of the film's action is stripped down to dialogue and powerful character interaction. As this sub-genre often uses voice-overs or narration during the introductions, I have decided to look at the script for the following films:

 

1. Milk (2008, written by Dustin Lance Blank and stars Sean Penn as the title character)

 

 

2. The Godfather (1972, written by Mario Puzo & Francis Ford Coppola and stars Marlon Brando as Don Corleone and Salvatore Corsitto as Bonasera)

 

 

3. Raging Bull (1980, written by Paul Schrader & Mardik Martin and stars Robert De Niro as Jake LaMotta)

 

 

Questions:

 

1. How did each script introduce the narrative (storyline), setting, time period, the characters and the genre?

 

MILK

In the script for Milk, the first shot is of Sean Penn in his kitchen, recording his will on 'a circa 1970s tape recorder'. The description of this particular prop includes the decade of which that tape recorder would be released. This shows the audience that the film is based during the 1970s. This is also a form of continuity because the exact year of the film's introduction is mentioned in the caption for the first shot (Int. Harvey's Kitchen...1978).

 

Harvey Milk is introduced by Penn himself when he says, 'This is Harvey Milk speaking on Friday November 18th'. This tells the audience that Sean Penn's character must be the main character of this story. In the next caption, the setting of where Milk is recording his will is in 'a cluttered San Fransisco apartment'. This detail introduces the film's main location to the audience and makes us assume that Milk is either talking in a San Fransisco accent or in a general American accent. The script suggests to us that this is the location where the majority of the film is set because a person would want to record their will within the warmth and comfort of their own home.

 

The caption for the fourth shot states that Milk is 'making a campaign speech to a crowd of stone faced union boys'. The fact that he is delivering a campaign speech rather than any other normal monologue suggests to the audience that this film has a political theme because Milk is a politician or an activist.

 

Milk's final line in this section of the script is an enigma code because it gives the audience a vague insight of his life and it is the vagueness of his final line that makes us wonder why he would call the opposition party 'insecure, terrified, afraid or very disturbed themselves'. We wonder why he would want to use sharp, bitter words. It is this question that introduces us to a part of the film's narrative.

 

THE GODFATHER

The subtitle for the first shot says, 'Int Day. Don's Office (Summer 1945)'. This subtitle introduces the year and time period to the audience. In the caption for the first shot, it says how the title credit's typography should be represented: 'simple words in white lettering'. The colour white can be quite plain (even bland) but stands out amongst the chosen 'black background'. The typography's formality suggests to the audience that this film must be very dramatic, hinting to us the film's genre.

 

During the title sequence, the script cues a non-diegetic cry where someone says, 'I believe in America!'. This cry introduces the film's country to the audience. In this same caption, we are introduced to the character, Amerigo Bonasera, who is described as being 'on the verge of emotion'. The audience wonders why he is feeling so emotional. This question signifies that this character direction is an enigma code.

 

Bonasera then begins to explain why he is on the edge. He goes on to say that his daughter 'found a boy friend, not an Italian'. This introduces an element of the narrative to the audience. It suggests that there must be some kind of conflict between the Italians and another body of society. His speech finishes with him saying, 'Then I said to my wife, for Justice, we must go to The Godfather'. This quote intrigues us because it makes us wonder why the godfather is capitalised. It is also an introduction to the character, Don Vito Corleone (whom fans of the original adaptation will know), is addressed in that way because he is the leader and the wise character.

 

RAGING BULL

At the start of the introduction, the title sequence's caption says that the credits are 'intercut with close-ups of a fighter's body'. This caption's description suggests to the audience that this film has a recurring sport's theme throughout. The subtitle for the next cut mentions the film introduction's time period when it says the first cut is set in the 'Barbizon Plaza Theatre - Dressing Room - Night (1964)'. The mention of the exact year tells the audience that the introduction is set during the 1960s.

 

The caption for the first cut introduces the character, Jake LaMotta, to the audience. Although 'overweight and out of shape', it is clear that his character still has some life in him left when it goes on to say, 'the balls of his feet still pop up and down like they were on canvas and his tiny fists still jerk forward with short bursts of light'. This suggests to the audience that he is still determined to succeed. It also introduces to us an element of the film's narrative: it could be that LaMotta's career as a boxer had to abruptly end at a time when he was not ready to retire.

 

2. How did each script engage you?

 

Whilst The Godfather's script engages me with its formality and its very emotional monologue, Milk's and Raging Bull's script engaged me with elements of humour. Milk's script also engages me because of his final enigmatic quote in that section of the script when he says, 'I fully realize that a person who stands for what I stand for - an activist, a gay activist - becomes the target or potential target for a person who is insecure, terrified, afraid or very disturbed themselves...'. This line not only describes himself and why he stands out in society but he also describes normal people as the enemy. His description of the enemy engages me because it makes me wonder why he is open to calling the opposition such bitter names when his sole aim was to recruit people.  

 

The Godfather's script engages me because the shots are laid out in chronological order. This helps me to understand the introduction more and it allows me to pick out the key information from the script. Raging Bull's script engages me because I am able to get a clear representation of the lead character's present life and past life and how he is still caught up with living in the past.

 

3. What does each of the scripts have in common?

All of the scripts have a monologue to some extent during the introduction. All of the scripts indirectly introduce the film's setting whether this is in a stage direction or if it is said. For example: Milk's script introduces the setting in a stage direction of how the room in which Milk is sat in should look.  

 

4. How are each of the scripts different?

Whilst Milk's script and Raging Bull's script cross-cuts from the past to the present day, The Godfather's script remains in one time period and links fluently and chronologically into the next section of the script. The tone of The Godfather's script is also quite negative in order to prevent any humour whereas elements of humour are in Raging Bull and Milk in order to engage the audience from the start. The title credit does not appear at the introduction of Milk's script whereas it does for The Godfather and Raging Bull.

 

 

 



Scripts and their Interpretation Part 1

Sound is one of the most basic essentials that a modern film production should have. If screenplay writers wish to include dialogue and sound effects into their production, it is essential that they should produce a script. This is because it allows actors involved in the production to confidently express the characters that are in the film. The camera crew can rely on the script when it comes to producing the shots for a particular scene or section and the sound crew can successfully insert sounds because of cues from the script.

 

In this task, I analysed the script for the opening scene from the 2012 film adaptation of the Schonberg-Boubil musical Les Miserables that stars Hugh Jackman as Jean Valjean and Russell Crowe as Javert. I was able to complete the task by reading the manuscript then analysing how that section of the script was interpreted on screen.

 

Questions:

 

1) How does the script introduce the narrative, setting, time period, the characters and the genre?

 

A) In the superimpose caption, the script introduces the year, the country that the film is set in and the film's historical context in full sentences.  Even though they are full sentences, they are simple sentences. The length of the sentences allow the audience to easily remember these important facts. This allows the audience to have a clear understanding of the film that they are about to watch before any shots or screenplay have actually taken place. It says, 'The year is 1815. The French Revolution is a distant memory. Napoleon has been defeated. France is ruled by a king again.'

 

In A1's screen direction, not only is the actual location of the film's opening scene introduced (Ahead, the port of Toulon, the home of the French navy) but the setting and the atmosphere that the setting creates is also introduced to the audience. When a person thinks of 'Winter rain', they immediately think that it is dark and miserable. Some could say that this dark and miserable theme could continue throughout the film. It could also be an enigma code for events to come. Another superimpose caption that says the film's setting was written for it to appear onscreen during the film. This tells  audience members, who are unfamiliar with the theatre adaptation or with landmarks of France, that the opening sequence is set in a particular place in France.

 

 In the first shot's caption, the character, Jean Valjean, is described as being 'a great brute of a man' but 'he seems to feel nothing'. This is an enigma code because it makes us wonder why he feels nothing and so numb despite being incredibly strong and brutish. The fact that the shot focuses on Valjean's characteristics unlike all the other convicts suggests to the audience that he is either a main character or a character of significant importance to the film's events.

 

The second shot's caption directs the convict ensemble to sing their lines when it says, 'The convicts sing in time with the rhythmic pulls on the rope -'. This lets the audience know that the genre of the film is a musical. This caption also introduces the character, Javert, as being 'the officer in charge of the convict workforce' which shows the audience that there is a class and power divide between him and the other characters. It also says that he is 'expressionless' which shows that he is certainly not showing any remorse or guilt for the pain that the convicts are undertaking. This suggests that he must be the bad character or the villain of this film.

 

In the third caption, the relationship between Javert and Valjean appears strained and almost non-existent when it says Valjean 'stares back for a beat, defying him'. This suggests to the audience that the conflict of power between the two characters could escalate further as the film progresses. This suggestion could be classed as a part of the film's narrative.

 

2. How does it engage you?

 

A) It engages me by giving full descriptions of shots. This allows me to create an image of that shot in my head and this makes me, as an audience member, feel more involved and more connected to the film. The script's writer has also been careful not to go into too much depth when it comes to describing the characters. This engages me because the vague information makes me question why those characters are like that and it makes me wonder if those questions will be answered during the film's progression. Key characteristics have been mentioned rather than a whole list of personality traits. This engages me because it does not over-complicate the character and it allows the actor to create a realistic, respectful representation of that character.

 

3. How did the film-clip introduce the narrative (story), setting, time period, the characters and the genre?

 

 

In the first few seconds of the clip, the year, the country and the historical context is introduced. The year of the film is larger than the rest of the text. This suggests that this detail out of the whole passage is the most important. If audience members are unsure why that date is significant, the first half of the passage explains why (twenty six years after the start of the French revolution). The audience are able to know the film's setting from the remainder of the passage which says 'a king is once again on the throne of France'. Non-diegetic fanfare music can be heard at this point. The genre and the aggressive tone of music suggests that the following shots in the sequence are going to express that aggression at some degree. The consistent dark colour scheme creates a miserable, dark atmosphere which suggests that the film's narrative could be just as dark and mysterious.

 

 

The camera then rolls from the ship onto the docks. This shot could be called the opening sequence's establishing shot because it introduces the location of this first scene to the audience. Although it is not clear what is the name of this particular place, the audience are able to identify it as being a war-ship docks because of the size of the ships that are on the left hand side and on the right hand side of the camera's position.

 

 

A high-angle shot then zooms in from the ship to the cast who are pulling the ship into the docks. The shot particularly focuses on Hugh Jackman. Fans of the original musical adaptation will recognise this character as being Jean Valjean. However, other audience members may not realise this yet and may question if his character has significant importance because the camera is focusing on him. His shabby costume suggests that his character could be quite poor but then the shackles around his neck confirms that he looks dishevelled because he is a convict.

 

 

A few seconds later, this next low-angle shot zooms to a medium close-up of Russell Crowe. Once again, fans of the original musical adaptation will be able to identify his character as being Javert, the officer in charge of this particular group of convicts. For those who do not know the musical, the low-angle shot is often used for characters who are menacing or have a high degree of power and status. This degree of power, alongside the much tidier costume that he is wearing, suggests to audience members (who don't know who he is) that he is the leader or dictator. The menacing mood and low eye contact suggests that he could be a bad character or a villain.

 

After this shot, the camera cross-cuts to a close-up of Valjean struggling to pull the rope back. Whilst doing this, he sings the line, 'Look down!'. By singing the dialogue, this tells the audience that this film is a musical. The line 'Don't look him in the eye' is addressed to Javert. The tone of this lyric proves that the rest of the characters in this sequence have a strained relationship with the officer because of conflict in power.

 

 

This low-angle shot of the convicts walking allows the audience a clear view of the horrible conditions that the men have to work in. This shot is also very interesting because it depicts the convicts walking over their country's flag without a care in the world. This is an enigma code for the film's narrative because it suggests that the people of France are living under such regime where they are physically unable to be patriotic and love their homeland anymore. This also suggests that at some point in the film, the cast could show defiance and stand up against the French regime in vengeance for the pain that they had endured.

 

 

This medium shot of the two characters together establishes their strained relationship for the audience. The difference in costume shows that there is a clear divide in power and respect. Valjean's back is facing the camera. This body language shows that he does not wish or choose to associate with Javert.

 

4) How did it engage you?

 

It engages me because one clear interpretation of the script has been created. Whilst the script was full of enigma codes that caused me to ask questions, the film's sequence explored these enigma codes in a way that was not directly addressed to me as an audience member. Elements of the photography created these enigma codes such as the interaction between the two main characters and symbols that signified possible plot elements. The audio codes also engages me because it allows me to understand and connect with the characters on an emotional scale.