Script
The script is vital for any film. Some of these include:
Communication: The communication between actors and
directors is essential for any film, and the most successful ones are where the
actors and directors correspond well and know their script. If neither director
nor actor knows their script, the final product will not be a success. Overall
the script provides the bases of communication on set of a film.
Organization: The script itself if organized will make the
filming itself very easy, both for the actors and directors. It will make the
film making process a lot clearer and easier. Like the Schedule, the script is
vital for organization.
As you can see above, the film script for the Godfather has a clear layout. It is easy to read, clear and organized for both actors and directors alike. I is impossible to film a film without such as script. There is alot of detail within this example of a script, for example "One feels just for a second he looses all physical strength" this is important for the actors, who by reading the script, would know clearly on what to do. Our script, because of its lack of dialogue will too have alot of detail throughout.
It is essential that our script includes the things listed above, it is clear in in communication and organization. This is done through the Godfathers script where the layout is clear and its in alot of detail. Also sometimes a "spec" script is written. This is done before the main script is used in the film to give an underling basis to the final film. This then enables directors and screen writers to improve the final script, based on the spec script. The final script is called the "shooting script". Which is seen above with the Godfather.
A good script writer needs to know how to create imagery through text. The text needs to be clear in what it is stating, clear in its aim and clear in its presentation. However, what is in the script my not be what is in the final film, where bits from the script will be shot, but edited out for time etc...
Overall, the script from the example above needs the characteristics of a good script to make a good film.
Here below is a film script taken from the film alien. This film script like ours lacks diologue, but we can see that it is still in alot of detail and clear in its aim.
FADE IN
SOMETIME IN THE FUTURE:
INT. ENGINE ROOM
Empty, cavernous.
INT. ENGINE CUBICLE
Circular, jammed with instruments.
All of them idle.
Console chairs for two.
Empty.
INT. OILY CORRIDOR - "C" LEVEL
Long, dark.
Empty.
Turbos throbbing.
No other movement.
INT. CORRIDOR - "A" LEVEL
Long, empty.
INT. INFIRMARY - "A" LEVEL
Distressed ivory walls.
All instrumentation at rest.
INT. CORRIDOR TO BRIDGE - "A" LEVEL
Black, empty.
INT. BRIDGE
Vacant.
Two space helmets resting on chairs.
Electrical hum.
Lights on the helmets begin to signal one another.
Moments of silence.
A yellow light goes on.
Data mind bank in b.g.
Electronic hum.
A green light goes on in front of one helmet.
Electronic pulsing sounds.
A red light goes on in front of other helmet.
An electronic conversation ensues.
Reaches a crescendo.
Then silence.
The lights go off, save the yellow.
After looking at this scipt we decided to follow its example since like ours, it lacks diolgue and it too is a horror film.
Script:
Radio voice over credits
Reports today of another man gone missing near
Tamworth. Police are continuing their investigation as the search is on its
fourth day. Family and friends are pleading for anyone knowing anything about
the suspected Kidnapping of Mr David Wade
A man is alone in his car. Face is hidden. He
drives without making any noise. He turns the wheel of the car into what seems
to be a farm. He looks slowly out of the car window before opening the door and
getting out
He is later seen to open the barn door to what
can only be described as a ragged clothed victim who is chained up near the
corner of the room
The man who the audience now suspect drags the
victim out of the barn, but not before removing the hood over the victims face.
The Victim is the later heard pleading for his life as the kidnapper drags the body
out and into his car boot.
Victim
Please, please, you don’t have to do this
please. I have money. Please!
The man who the audience know now is the kidnapper
drags the body and puts him into the boot. The victims face at the point is one
of being scared and frightened. The victim, walking slowly, almost casually,
still face concealed heads to his car and drives into the distance.
Like the first shot. The man is still calm, and
does not speak, instead he listens to the cries and screams and moans coming
from the boot. He does nothing and still
heads to a field
The man then later goes from his car, opening
the back doors and removing a spade. Again this is all done very slowly and
casually. He then opens the boot where the cries and screams from the victim
can again be heard.
Victim
Please, please, you don’t have to do this
please. I have money. Please!
Again the kidnapper
does nothing but grabs him by the shoulder, whilst carrying the spade, pulls
him into the field. The facial expression shown by the victim is again one of
fear, whilst the culprit is still unknown.
The Kidnapper throws the victim onto the floor,
doing so he also throws the spade onto the floor. At this point the darkness is
beginning to come. He removes his mask, revealing a darkened, intimidating
looking face. He later says
Kidnapper
Dig
