Consulting my notes from last week’s program, I find a lot I missed in the last few posts.
As mentioned earlier/ further down this page, last week at film school we were taught by screenwriter Stefan Jaworski. A lot of constructive lessons in loglines, structure, scenes and dialogue. Here is some of what he wrote on the flipboard concerning the latter (my translation, obviously):
Bad dialogue is:
- Boring (no project, no obstacles)
- Incomprehensible (seemingly unmotivated)
- Ordinary (lack of clarity in character)
- Soapy (lack of subtext, on-the-nose)
- Too obvious (badly hidden exposition)
- Confusing (psychologically inconsistent)
- Goes on too long (uneven battle of wills)
Good dialogue is:
- Presents obstacles
- Reveals character
- Psychologically consistent
- Has rythm (equal battle)
- Shift(s) in status
- Turning points
- “Real vs. reel”
Any and all dialogue scenes should have a will behind the words – to dominate, to split up other characters, to provide a diversion, pass on information or even just to make sure everybody has a good time.
Resistance and obstacles are equally important. Distractions, the will of other characters, inner- and outer obstacles.
And remember subtext, at all times. What are they not saying, but we know they really mean.
Another tip I noted, was hiding exposition in an attack. I.e. : “In the seven years we’ve been together, you never said you wanted a dog/house/kid/whatever”. Exposition is a neccesary evil in storytelling, so any tip on getting it across in a dynamic way is highly appreciated.
Oh, and anyone of you out there who find something of interest and value in the above? Please leave a comment below. Thanks.