Film School Confidential: YOU TALKING TO ME?

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:

• Project-driven
• Motivated
• Presents obstacles
• Reveals character
• Subtext
• Psychologically consistent
• Has rythm (equal battle)
• Shift(s) in status
• Turning points
• Theme
• “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.