1. A2 Film Studies FM3 Creative Project Dialogue

2. Learning Objectives To explore the use of dialogue and to discuss examples of existing film dialogue and students’ work. To analyse the absence of dialogue and explore alternative methods of communicating information To produce an example of appropriate dialogue for one of your characters

3. DIALOGUE How does the dialogue work in these sequences? What do we learn from it? The Godfather

4. DIALOGUE Writing film dialogue is hard – really hard. These are some suggestions taken from a couple of books. They are good, sensible ideas that could really help you. Try to remember them when you write your script.

5. DIALOGUE It has a clear dramatic function (e.g. to advance to narrative, reveal characters etc.) Phil Parker – The Art and Science of Screenwriting

6. DIALOGUE It relates to the visual aspect of the moment (it should relate in some way to what we see on screen – it may be ironically juxtaposed against a setting for example). Phil Parker – The Art and Science of Screenwriting

7. DIALOGUE It is character specific (a well established test of this is to cover up the names on a screenplay and see if it’s still clear who is speaking). Phil Parker – The Art and Science of Screenwriting

8. DIALOGUE It is economical (in a realist drama dialogue should be short and to the point). Phil Parker – The Art and Science of Screenwriting

9. DIALOGUE It reflects the style of the narrative (the way that every character speaks should fit the world they inhabit and should add to the rhythm and pace of the script). Phil Parker – The Art and Science of Screenwriting

10. DIALOGUE It delivers only what the action and visual can’t. Phil Parker – The Art and Science of Screenwriting

11. DIALOGUE It is speech, not prose (it should convey the illusion of real speech, even though it is inevitably more structured). Phil Parker – The Art and Science of Screenwriting

12. DIALOGUE Some don’ts………

13. DIALOGUE Avoid “passing-the-time-of-day” dialogue: greeting, polite nothings, goodbyes etc….. Raymond Frensham - Teach Yourself Scriptwriting

14. DIALOGUE Don’t repeat information in dialogue that has already occurred elsewhere in the dialogue. Raymond Frensham - Teach Yourself Scriptwriting

15. DIALOGUE Avoid dialect and writing phonetically: when the character is introduced, the description can contain information about accent, but script readers and actors don’t like having to read phonetic representations of speech. Raymond Frensham - Teach Yourself Scriptwriting

16. DIALOGUE Never italicise dialogue to create emphasis and try to do it without exclamation marks. Raymond Frensham - Teach Yourself Scriptwriting

17. DIALOGUE How does the dialogue work in these sequences? What do we learn from it? The Godfather The Shawshank Redemption When Harry Met Sally Watch – almost anything - written by Quentin Tarantino but remember that he has a very distinctive “voice.”

18. Learning objectives: Read through the exemplar material in the box files and on Moodle Keep working on your screenplay Up date your blue tracker sheet Develop your idea – complete your synopsis Develop a dialogue for your character Target setting

19. DIALOGUE Not every question in dialogue needs to be answered. The use of silence, a reaction or non-reaction can be more powerful than dialogue. Raymond Frensham - Teach Yourself Scriptwriting

20. DIALOGUE Watch the extracts from Witness & Up and consider how the dialogue works and how important it is to our understanding of the narrative. Up Witness

21. DIALOGUE How could you reveal something and convey tension using just one word ?

22. So, remember In the words of Westlife……. ”You say it best when you say nothing at all”

23. Learning objectives: Read through the exemplar material in the box files and on Moodle Keep working on your screenplay Up date your blue tracker sheet Develop your idea – complete your synopsis Develop a dialogue for your character Target setting

24. Homework Ok, now the hard work really starts – you need to get working on the scripts. I want to see progress every lesson – starting with a clear synopsis – if you don’t already have one. Write, write, write………..