Clips & Supplementary Instruction

Case study for Promenade: A Short Film Engaging Example:

 

The Lot from Point Loma Nazarene University on Vimeo.

Case study for 1984 Engaging Example:

The Ultimate Guide to Camera Shots—over 50 types of shots

Time-Lapse Photography Example

Stop Motion/Stop Frame Animation Example

Special FX

Shot Transitions

For more descriptions and examples of film / TV script jargon

Music

Sound FX examples here and here

Here’s a great glossary of terms for television and film:

For Official Associated Press (AP) Pronunciation Guide

HOW TO WRITE A SYNOPSIS 

Your synopsis for this screenplay will be a 3.5-page document and is, essentially, a more detailed description of the film’s content revealed in the logline.  The synopsis consists of the following:

• The main plot points in each act
• Any foreshadowing incidents
• The climax and resolution to the story
• Settings and situations briefly-described with character behaviors, actions that reveal character thoughts, feelings & attitudes
• Characters are included and names are CAPITALIZED
• Written in present tense—which makes it more engaging
• Simple, direct sentence structure describing the action
• Appropriate adjectives & vivid verbs
• Descriptions of dialogue in key places

Your synopsis lays out the basic, most important incidents that happen in the beginning, middle, and end.  The purpose is to clarify the story to confirm your ideas and provide an opportunity for  praise and constructive criticism.  Your goal is to make the story as interesting and engaging as possible, and the best way to do that is to hear from others who aren’t as emotionally and/or intellectually close to the story as you are.  They have a distance which allows them to look at the story more objectively—providing more opportunities for discussion and critique and, hopefully, to make the story better. 

As you read the synopsis below, notice the emphasis on showing the story, rather than telling the story.  Showing requires turning character psychology (thoughts and attitudes) into character behavior and action, and envisioning scenes where these behaviors and actions emanate and flow together organically (believably and meaningfully) out of the characters and their situations in compelling ways.

A Synopsis:

The Hunger Games

Overview:

In a dystopian future, the totalitarian nation of Panem is divided between 12 districts and the Capitol. Each year two young representative-“tributes” from each district are selected by lottery to participate in the Hunger Games—a gruesome and sadistic version of the Olympics where tributes are forced into a survival-of-the-fittest killing game.  The last person standing is the victor.  Part entertainment, part brutal retribution for a past rebellion, the televised games are screened throughout Panem. The 24 participants are forced to eliminate their competitors while the citizens of Panem are required to watch. When 16-year-old KATNISS’ young sister, PRIM, is selected as District 12's female representative, KATNISS volunteers to take her place. She and her male counterpart PEETA, are pitted against bigger, stronger representatives, some of whom have trained for this their whole lives.

THE BEGINNING (Act I)

SENECA CRANE and CAESAR FLICKERMAN discuss the background-history of The Hunger Games event before a television audience.  KATNISS EVERDEEN wakes up to comfort her young sister, PRIMROSE, who is worried about the coming announcement (“reaping”) of who will be the tributes (participant in the Games) from District 12 in the Hunger Games.   KATNISS goes out to hunt for dinner, and ends up meeting up with and dreaming what it would be like to live a life lived outside of the District 12 fences with her male-friend, GALE HAWTHORN. KATNISS' younger sister, PRIMROSE, is chosen as a “tribute,” but KATNISS bravely-volunteers to replace her sister and becomes District 12's female tribute. The male tribute is named PEETA MELARK. Then KATNISS comforts her mother and encourages her to take care of sister PRIMROSE before she’s taken to Panem

KATNISS and PEETA are escorted via high-speed train to the capitol by EFFIE.  KATNISS and PEETA are shocked and disgusted by rich food and treats.  They’re introduced to their mentor (and jaded alcoholic), HAYMITCH ABERNETHY--a former winner of the Hunger Games. KATNISS doesn’t like him, while PEETA is drawn to him.  They come together, and HAYMITCH reveals the key to their survival.

THE MIDDLE (Act II)

All participants arrive at the Capitol to a shouting and cheering crowd, and KATNISS and PEETA are escorted to their stylist, CINNA, who sets them up with firey costumes—sure to draw attention and win support from viewers.   They get weaponry, combat training and survival skills.  Meanwhile, CATO—a hot-headed and imposing is introduced—foreshadowing the violent and dramatic climax to come. 

PEETA is bullied by the other tributes, but then shows off his strength.  Later, each tribute is instructed to show their skills to the game makers and sponsors, including SENECA CRANE.  KATNISS shows off her archery skills, but is ignored by the audience.   She then shoots an arrow into the audience area, going straight through an apple in a roasted pig's mouth.  The game makers and sponsors are stunned.  KATNISS sarcastically thanks them for their consideration and leaves. The tributes' scores are displayed and many achieve high scores of 9 to 10, including the Careers’ CATO and his partner CLOVE.  PEETA receives an 8 while KATNISS scores an 11, the highest of all.

The President of the Capitol, SNOW warns SENECA that the Hunger Games is about giving the districts hope but that too much hope can be dangerous.  The extravagant Hunger Games TV chat show is hosted by the flamboyant CAESAR FLICKERMAN. KATNISS’ firey dress gets attention.  PEETA gets some laughs, along with KATNISS’ anger when he reveals his intense crush on KATNISS.

Just before the games, HAYMITCH gives some final advice to KATNISS, then the tributes are raised into the arena.  They all race to get the weapons and backpacks, brutally attacking and killing each other in the process.  Meanwhile, KATNISS grabs a pack, finds a rope, an empty canteen, and a coat inside the backpack.  She locates water, then ties herself high up in a tree for the night.  Canon bangs reveal that thirteen tributes were killed within the first eight hours.

Alliances are formed—PEETA joins a group of CAREERS during the night to find KATNISS. KATNISS explores too far into the outer regions of the arena, and the game controllers start a forest fire to force her further in to the center. She escapes and ends up with a nasty burn on her thigh.   CATO and others chase KATNISS up a tree, and PEETA suggests that they wait her out till she needs food and water.  That night, a parachute from HAYMITCH--filled with medicine for her leg wound—floats down from the sky with a mini-parachute to KATNISS.  Healed by the medicine, her attention is then focused on a young 12 year old girl named RUE from District 11.  RUE points out a large trackerjacker (killer wasps) nest just above and dangling over the CAREER group below—thinking their highly venomous bite will cause powerful hallucinations and/or death. KATNISS saws the branch off and the nest falls to the ground, exploding in a wave of wasps that kill or scramble CAREER group members below.

KATNISS is bitten, and begins to hallucinate, then sees PEETA approach her and seemingly yell at her to run. KATNISS escapes but eventually collapses.  After a night of hallucinations and nightmares, some involving her father, KATNISS awakens to find bandages covering her stings. She stumbles around--thinking PEETA must have bandaged her. RUE appears and tells her that she was asleep for two days and that she has been taking care of her. The two girls team up and form a plan to destroy a mountain of food and supplies located in the starting meadow that the CAREER group is guarding.  Their planned combination of small fires, booby-trapped mines and mockingjays (birds that mimic any tune, to signal to each other) works.

KATNISS shoots at a bag of apples on top of the pile which causes them to cascade down and detonate the mines. The pyramid explodes, sending food and supplies everywhere. Katniss watches, triumphant. Infuriated, CATO demands to know how such a thing could have happened. CATO’S anger turns murderous, and he snaps the boy's neck.  KATNISS finds Rue trapped under a net and releases her just before they’re attacked by MARVEL, a tribute from District 1. MARVEL throws a spear but Katniss dodges the attack and shoots an arrow into his chest, killing him. However, when she turns to RUE, she sees that MARVEL's spear also went through RUE. RUE dies, then KATNISS gathers flowers from the forest and spreads them over RUE before her body is taken back to her district.

THE END (Act III)

RUE’s father is horrified and angered by his daughter's death and starts a riot.  The 'Peace Keepers' (police) of District 11 shoot RUE's father dead. PRESIDENT SNOW, enraged by the rebellion in District 11, wants to ensure that KATNISS is killed.  HAYMITCH pleads with SENECA to keep her alive--pointing out that the teen romance is a *great emotional story device that must stay. SENECA announces a rule change: two winners instead of just one will be allotted--so long as they belong to the same district. KATNISS sets out in search of PEETA. A trail of blood leads her to a camouflaged PEETA hiding in the rocks. KATNISS moves him and herself to a nearby cave.

*Even a past Hunger Games tribute (HAYMITCH) understands the importance of pathos!

KATNISS discovers that PEETA’s wound involves blood poisoning-- requiring a special medicine.  Suddenly, magically, an announcement rings out that there will be something at the cornucopia that each tribute desperately needs. PEETA begs KATNISS not to leave him and risk her life trying to save him. KATNISS waits until PEETA has fallen asleep before leaving for the cornucopia.

KATNISS sprints and dodges towards the cornucopia to grab the medicine but is suddenly hit with a knife launched by CLOVE. The two wrestle and fight.  CLOVE presses a knife to Katniss' throat and mocks her for teaming up with little RUE. Suddenly, THRESH appears and throws CLOVE against the cornucopia wall, and beats her to death as she cries out for CATO. THRESH releases KATNISS for helping RUE.

KATNISS administers medicine to PEETA and herself, healing their wounds, and they fall asleep in each other's arms. The next day, they split up to find food, and KATNISS hears a canon signaling another tribute death. Panicked, she runs back to PEETA, but finds him alive near a berry bush a handful of berries near the corpse of FOXFACE--also with berries in her hand.

The voice of THRESH crying out is followed by the sound of the cannon, signaling his death. Suddenly, a giant, vicious mutant dog leaps out and starts to chase them. They sprint through the forest as two more dogs enter the chase. They barely make it to the cornucopia and sit back in relief thinking the dogs will kill CATO, and they will be crowned the victors.  Suddenly, CATO attacks KATNISS from behind, but she gets loose.  CATO then gets PEETA in a choke hold to either break his neck or throw him to the mutant dogs.

KATNISS loads an arrow and points it at CATO, uncertain if her shot will take them both down to the dogs. CATO sadistically tells her that it’s all about entertainment to make the spectacle of death as painful and unnecessary as possible.  CATO warns KATNISS that if she shoots him, then her 'lover boy' goes down too. KATNISS shoots his hand, CATO lets go, and PEETA pushes CATO down to the dogs who savagely attack him before KATNISS shoots an arrow into him, ending his misery. The last cannon goes off indicating they have won the Hunger Games. They embrace and wait for a helicopter to come take them home.

No helicopter comes. An announcement then states that the rule which allowed two winners has been revoked, and only one can remain. PEETA begs KATNISS to kill him.   KATNISS then holds up some Nightlock berries to the cameras--hinting that she'd rather the Capitol have no winners instead of one. Before they commit suicide, an announcer says that they have both won. They are brought back to the Capitol.  HAYMITCH tells them how foolish their defiance was, and instructs them to play up the star-crossed couple routine at their final interview. 

SENECA CRANE is led into a finely polished room where he is forced to commit suicide.  Meanwhile, PEETA and KATNISS return to District 12 and met with a hero's welcome. PRESIDENT SNOW watches the welcome on TV in a look of concern as he wonders what to do about the two victors and the feelings of rebellion they have created in the Districts.

In summary, the synopsis is an expansion of what the logline has introduced.  The purpose is to flesh out more details of the characters and story and, through this, to provide an opportunity for the producer--and others who have a stake in the story and project--to critique and provide constructive criticism to the writer.  This is where you can identify possible story, character, plot, and/or other potential problems--a powerful and useful document in the script development process.  Finally, it’s also very important that the synopsis elicits some anticipation in the mind of the reader – to the point of wanting to see a detailed treatment or a complete script!

Storyline,” by Suzanne Collins, from: http://www.imdb.com/title/tt1392170/

Step Outline:

The Hunger Games

Act I

A graphical opening to be created and conveying the following: the nation of Panem--a post-apocalyptic North America-- consists of a wealthy Capitol region surrounded by 12 poorer districts.  Early in its history, a rebellion led by a 13th district against the Capitol resulted in that districts destruction.  Out of this turmoil came the creation of an annual televised event known as the Hunger Games.  In punishment, and as a reminder of the power and grace of the Capitol, each district must provide one boy and one girl between the ages of 12 and 18 through a lottery system to participate in the games. These 'tributes' are chosen and forced to fight to the death, leaving only one survivor to claim victory.

Purpose: to provide an introduction to how and why the Hunger Games exists and how it works.  Also, to create a sense of mystery and elicit a sense of anticipation in the audience.

NOTE: For all scenes after the prelude: it is assumed that every scene’s purpose is character and/or story revelation AND to elicit an emotional response and anticipation in the viewer.  Therefore, although the “scene purpose” is known, the actual statements are not normally included in the Step Outline document.  However, it’s not a bad idea to include them so that the producer, director (and others) understand what and why things are happening in each scene.

Scene 1:  a brief portion of a television interview show includes the flamboyant CAESAR FLICKERMAN interviewing the serious Head Game Maker, SENECA CRANE.  They discuss the background, tradition, and purpose of The Hunger Games is revealed.  Just before he asks the second question, a sudden, shrill, and unexpected scream is heard.

Scene 2: KATNISS is awakened in the early morning by her sister’s, PRIMROSE’S, shrill, nightmare-induced scream.  She comforts her and tries to assure her that she won’t be picked to be in the Hunger Games, then leaves her in bed with a song.

Scene 3:   KATNISS goes out to hunt for food, and as she jogs through the dirt-roads of the district, a MONTAGE of images of poverty, decrepit buildings and despair fill the screen.  

Scene 4:   KATNISS ducks through a barbed wire fence with signs warning “electrified,” and “District Boundaries, No Access Beyond This Point.”

Scene 5:  KATNISS retrieves a hidden bow and arrows hidden in a tree, than begins the hunt.  She aims at a deer, and it runs away.  She checks the movement of the wind to discover that she’s upwind from the deer, then moves downwind where the deer can’t smell her. 

Scene 6:  She finds the deer, then, just as she aims and is about the shoot, KATNISS is distracted by the voice of GALE—KATNISS’ male friend.  She misses the deer and it escapes into the forest.  She scolds him for making her miss, then he throws a rock and scares out a flock of birds and KATNISS shoots one out of the air.  Suddenly, a large flying ship floats over them and they hide under the trees.

Scene 7: EFFIE TRINKETT walks into and observes the final construction of the reaping ceremony area and platform set up in District 12

Scene 8: KATNISS and GALE argue about the Hunger Games’ purpose, the possibility of leaving the district and hiding out together, and GALE’S hopefulness and KATNISS’ cynicism.  GALE hands KATNISS a bread-roll and she treats it like she has been given gold.  The scene ends with GALE admitting that his time is probably up and the odds of being chosen are not in his favor.

Scene 9: a shot of an old barn with holes in the roof is filled with townspeople trading goods and food.  KATNISS is given a mocking jay pin from an old lady.

Scene 10: a shot of a young mother hugging and seeing her son off to the reaping ceremony as the Capitol police enter the district.

Scene 11: KATNISS compliments and encourages her sister, PRIMROSE, as they dress and prep for the reaping ceremony in their ramshackle house.

Scene 12: a montage of shots of Katniss bathing and grooming and mother fixing her hair.  Also, the horn sounds signal that the tribute selection is about to begin.  KATNISS gives the mockingjay pin back to her sister.

Scene 13: the tributes sign-in for the reaping ceremony.  In a Nazi-concentration camp-like treatment and feel, they line up in neat rows, but KATNISS loses her sister in the crowd.  EFFIE welcomes them all in mock-jovial fashion as hundreds stand fearfully, quietly before her.  Then a video is projected onto the screen revealing the background and reason for the reaping and the Hunger Games-- chiding the past-districts’ ancestors for the war and resultant situation, and the need and purpose of the Hunger Games. PRIMROSE’S name is selected as the female tribute—but KATNISS’ desperate shouts to replace her sister are accepted.  PEETA MELARK is selected as male tribute.  A flashback of their past meeting appears suddenly and briefly on the screen before they are required to shake hands.

Scene 14: KATNISS is in custody, and PRIMROSE and MOTHER see her off.  She gives instructions to them about survival and their relationship together.  PRIMROSE gives the mockingjay pin back to KATNISS, and KATNISS orders mom to stand strong.  Then they are led away by Capitol police.  GALE enters and encourages her to use her bow skills, then is led out.

Scenes 15-17: a montage of shots showing EFFIE telling KATNISS and PEETA about the luxurious train ride to come, then being escorted from car to train through the crowd of District 12 people looking on.  Then they are led onto the train with luxurious rooms and food.

Scene 18: KATNISS and PEETA talk for the first time as EFFIE exits to get HAYMITCH.  As they talk, flashbacks of a past KATNISS and PEETA meeting is shown.  A drunken HAYMITCH enters and reveals his lack of urgency and concern for their lives.  He leaves and PEETA goes after him.

Scene 19: KATNISS is watching a Sports-Center like portion of FLICKERMAN’S interview show as they show clips from past Hunger Games: people fighting and crushing each others’ heads with bricks.

Scene 20: KATNISS walks into the train-car where HAYMITCH and PEETA are quietly talking, while EFFIE is seeing to her makeup.  KATNISS engages HAYMITCH and they have a tense conversation about how to stay alive: get people to like you and get “sponsors” (citizens who will give tools, medicine, water, etc. to those who they like).   HAYMITCH lets KATNISS know that she’s not getting off to a good start.  They arrive in the Capitol to cheering, rock-star idolizing crowds.  KATNISS stares blankly, while PEETA waves back at the energetic crowds with a big smile.  PEETA then invites KATNISS to the window to wave and smile, but she doesn’t oblige.

A SIDE NOTE: Not all film and television programs will include the creation of a step outline exactly like this.  Other television shows have similar documents.  For instance, interview and news shows require the creation of a show run-sheet with show-blocks which identify the content for each portion of the show.  A documentary can have a program outline.  These documents are used to accomplish the same purposes that a step outline does for a dramatic or comedic film or television show: to provide a plan and guide for program production, but also to provide a document for getting feedback on program content.  The goal is to help assure that the script’s content will, eventually, be as entertaining and effective as possible.  Examples of these other documents are included in later chapters.

Treatment: The Hunger Games

Act I

A white-on-black statement appears on the screen:  “From the treaty of the treason: In penance for their uprising, each district shall offer up a male and female between the ages of 12 and 18 at a public ‘Reaping.’  These Tributes shall be delivered to the custody of the Capitol.  And then transferred to a public arena where they will Fight to the Death until a lone victor remains.  Henceforth and forevermore this pageant shall be known as The Hunger Games.”

SENECA CRANE and CAESAR FLICKERMAN discuss the background-history of The Hunger Games event before a live television audience.  KATNISS EVERDEEN wakes up to comfort her young sister, PRIMROSE, who is worried about the coming announcement (“reaping”) of who will be the tributes (participants) from District 12 in hte Hunger Games. KATNISS goes out to hunt for dinner.  As she trots through the district, images of poverty, decrepit buildings and despair fill the screen: children digging in mud with sticks, dirty-clothed women carrying water buckets and hand-washing clothes in dirty-water… post-war zone survivors barely making it.  KATNISS goes out for a hunt, finds and tracks a deer, then just as she’s about to shoot, gets distracted by her happy-go-lucky male-friend, GALE HAWTHORN, and misses the deer.  Frustrated and angry, she chides him for his flippant attitude and the seriousness and importance of the hunt, then shoots a small bird out of the air.  They end up dreaming what it would be like to live a life lived outside of the District 12 fences.  Then KATNISS' younger sister, PRIMROSE, is chosen as a “tribute,” but KATNISS bravely-volunteers to replace her sister and becomes District 12's female tribute. The male tribute is named PEETA MELARK. Then KATNISS comforts her mother and encourages her to take care of sister PRIMROSE before she’s taken to Panem

KATNISS and PEETA are taken from their district by the gaudily dressed EFFIE TRINKET and travel to the Capitol on a bullet train. En route, they are fed rich food and treats but are disgusted by the amount of luxuries given to them and the occupants of the train while their families starve at home. They are introduced to their 'mentor' and a former winner of the Hunger Games, HAYMITCH ABERNATHY who appears to be a pessimistic alcoholic which repels KATNISS but attracts PEETA.   HAYMITCH grabs a drink and food before leaving their train car. KATNISS and PEETA later reunite with HAYMITCH in another car and he tells them that the key to survival is ensuring they are well liked by the public so that they may get “sponsored.” By having sponsors they will have more access to survival tools such as matches, knives, or even water and medicine. 

Act II

The train is greeted by a cheering crowd as they arrive in the gleaming city called “the Capitol.” PEETA waves to the residents but KATNISS refuses to show herself.   HAYMITCH warns her that she better hold on to her knife and that PEETA actually knows what he is doing by attending to the crowd. KATNISS meets her stylist, CINNA, who tells her that, as tributes, they need to make an impression on the audience so that they're remembered, especially by the sponsors.  CINNA proclaims that someone as brave as KATNISS should have a great costume for the Gala Entry Parade in which each pair of tributes wears an outfit reflecting their district's trade.  KATNISS and PEETA wear black costumes with actual fire emanating from them to symbolize their home’s coal-mining history.  They end up making a great impression on the audience.  PEETA takes KATNISS' hand and raises it into the air during the parade for more effect.  After the parade, the pair go to their penthouse.

The tributes undergo basic weaponry and combat training -- including the use of knives, swords, and bows.  In spite of this training, their trainer stresses that survival skills should not be underestimated, as exposure and infection can kill just as effectively as any sword.  One tribute named CATO is hot-headed and imposing, foreshadowing a serious threat later.  Over a meal,  HAYMITCH tells PEETA and KATNISS about the CATO’S CAREERS district.   He explains how all of the possible tributes in CATO’S district train until they're 18 before openly volunteering to participate in the Hunger Games.  HAYMITCH warns them that they win almost every year.  He asks about KATNISS' bow and arrow skills, but KATNISS refocuses on PEETA, describing his impressive strength.  But he rebuffs her compliments and confesses that his own mother thought KATNISS to be the superior tribute.

When PEETA is bullied by the other tributes during training, KATNISS suggests that he show off his strength by throwing a large weight across the room.  PEETA manages to perform the feat successfully and gains a small amount of respect from the tributes.  Later, in succession, each tribute is instructed to show off to the game makers and sponsors, including SENECA CRANE. When it's KATNISS’ turn, she decides to show off her archery skills.  However, she misses her first shot badly and loses what little attention she already had.  Despite her perfect second shot, she doesn't regain their respect, as they are ignoring her.  Angered by the sponsors' attitude towards her, KATNISS fires an arrow straight through an apple into a roasted pig's mouth –within a few feet of the stunned sponsors.  Then, she sarcastically thanks them for their consideration and leaves. The tributes' scores are then displayed on a television screen, ranking from 0 to 12. Many tributes achieve high scores of 9 to 10, including the CAREERS’ CATO and his partner CLOVE. PEETA receives an 8 while KATNISS scores an 11, the highest of all the tributes.

The President of the Capitol, SNOW, addresses SENECA and tells him that the Hunger Games is about giving the districts hope, but that too much hope can actually be dangerous – veiled threat that foreshadows SENECA’S demise.  During another meal, HAYMITCH tells KATNISS about PEETA’S decision to go without his help because of the fact that there can only be one winner.

On the extravagant Hunger Games TV chat show, each tribute is introduced individually and interviewed by the flamboyant host, CAESAR FLISKERMAN.  KATNISS elicits laughs from the audience during the interview and impresses them by showing off her firey dress as she twirls.  CAESAR gives her the nickname 'girl on fire'.   During his interview, PEETA gets great audience support and laughter.  It is then that he announces his crush on KATNISS, which angers her.  Backstage, KATNISS aggressively and angrily pins PEETA to the wall, demanding answers for his words.  HAYMITCH separates the two and explains that this could help him: he could sell the pair as star-crossed lovers which might gain them sponsorship support during the games.

Just before the games, HAYMITCH warns KATNISS to avoid the bloodbath at the beginning by heading to the high ground in search of water -- despite having to leave her bow and arrow behind. The tributes are all injected with a tracking device in their arms as they travel via helicopter to the outdoor arena. The tributes are then taken underground where they report to certain checkpoints before being loaded onto platforms that deliver them to the ground level of the arena.  Before being hoisted up, KATNISS says farewell to CINNA who has seen her off.  He tells her that, if he was allowed to bet, he would bet on her winning the competition.  Then she, along with the other tributes, are raised into the arena as the countdown to the Hunger Games begins.  As the horn sounds, the tributes rush towards the center Cornucopia which is full of weapons and backpacks.  Then they immediately commence brutal attacks and start killing each other by the Cornucopia.  Meanwhile, KATNISS manages to grab a pack and barely escapes CLOVE, who embeds a knife in KATNISS’ backpack.  Once at a safe distance, KATNISS finds a rope, an empty canteen, and a coat inside the backpack.  She takes HAYMITCH’S advice and locates water in a nearby stream before she ties herself to some branches high up in a tree for the night and attempts to get some sleep.  Loud bangs from a cannon and graphic pictures projected into the sky reveal the deaths of thirteen tributes killed within the first eight hours.

During the games, CAESAR keeps the public up-to-date with game incidents and alliances which have formed.  KATNISS witnesses from her tree perch that PEETA has joined with a group of CAREERS during the night--with the intent of leading them to her.  While exploring the next day, KATNISS gets too close to the outer regions of the arena, so the game controllers decide to start a forest fire to lure her further in to the center.  She barely manages to escape but does receive a nasty burn on her thigh, causing her to limp and slow her down.  KATNISS is then spotted by CATO and four other tributes, including CLOVE and GLIMMER who have all banded together.  We learn that the CAREERS come, collectively, from Districts one, two, and four, and are trained illegally before volunteering to fight.  The group chases KATNISS who eventually escapes by climbing a tree.  CATO attempts to follow her up, but is unsuccessful.   PEETA suggests that the group wait for KATNISS because she’ll eventually have to come down for food and water.

The group settles for the night beneath the tree and KATNISS ties herself to the tree to sleep. She is later awakened that night by a parachute (sent by HAYMITCH) containing much needed medicine for her leg wound.  She applies the medicine to her burns and they miraculously-disappear.  Her attention is then caught by a young 12 year old girl in an adjacent tree named RUE from District 11.  RUE is friendly to KATNISS and quietly points out a large trackerjacker nest just above KATNISS and dangling over the sleeping CAREER group below. We learn that trackerjackers are genetically engineered wasps whose stings are highly venomous and can cause powerful hallucinations and death.  KATNISS quietly climbs up the tree towards the nest and begins sawing at the branch holding it up.  The trackerjackers become irritated and start stinging her but, eventually, the branch snaps and the nest falls to the ground, exploding in a wave of wasps. The CAREERS group flees, but GLIMMER is stung too many times and succumbs to the venom.

KATNISS manages to climb down the tree and grab a bow and arrows. As she begins to hallucinate, she sees PEETA approach her and seemingly yell at her to run.  Regaining some sense, KATNISS escapes but eventually collapses. While she sleeps, we see what she sees: a night of hallucinations and nightmares, some involving her father.  KATNISS awakens beneath a tree trunk with leave bandages covering her stings. Unclear as to who exactly helped her, KATNISS stumbles around, thinking it must have been PEETA. RUE appears and tells her that she was out cold for two days and that she has been taking care of her. The two girls decide to team up and go on the offensive. They form a plan to destroy a mountain of food and supplies located in the starting meadow that the CAREER group is guarding. RUE is to start small fires to distract the remaining CAREERS while KATNISS detonates the booby-trapped mines surrounding the mound. They agree to use Mockingjays, birds that mimic any tune, to signal to each other. The plan works. The CAREERS become distracted by the smoke of the fires while one tribute, a boy from District 3, remains at the cornucopia, standing guard. KATNISS then notices a female tribute unseen by the others.  FOXFACE from District 5 sprints towards the pyramid of food and supplies, unnoticed by the guard. She picks her way through the mines, steals a backpack, and makes it back into the forest.

KATNISS then shoots at a bag of apples on top of the pile which causes them to cascade down and detonate the mines. The pyramid explodes, sending food and supplies everywhere. KATNISS watches triumphantly, as the CAREER group rushes back to the clearing. Infuriated, CATO demands to know how such a thing could have happened. The guard tribute from District 3 is equally confused, and CATO’S anger results in snapping the boy's neck.  KATNISS is disturbed by CATO’S ease to kill, and leaves. She uses the bird call system to find RUE, but receives no response until she hears a scared voice calling to her. KATNISS finds Rue trapped under a net.  She releases her just before they’re attacked by MARVEL, a tribute from District 1. MARVEL throws a spear but KATNISS dodges the attack and shoots an arrow into his chest, killing him. However, when she turns to RUE, she sees that MARVEL’S spear has gone through her chest. Distraught, KATNISS tries to calm RUE peacefully as she dies. KATNISS then gathers flowers from the forest and spreads them over RUE before her body is taken back to her district via hovercraft.

Meanwhile, RUE’S FATHER is horrified and angered by his daughter's death and starts a riot. His district follows his rebellious example and they destroy the stage showing the games. As KATNISS makes a peace gesture to the camera, the PEACE KEEPERS of District 11 arrive and shoot RUE’S father dead. PRESIDENT SNOW is enraged by the rebellion in District 11 and wants to change the game's rules and circumstances to ensure that KATNISS is killed. HAYMITCH pleads with SENECA to keep KATNISS alive--issuing a ploy of teen romance as a main reason. SENECA then announces that the rules of the game have been changed; two winners instead of just one will be allotted so long as they belong to the same district. With this knowledge and having just heard the announcement, the remaining CAREERS mention leaving PEETA for dead by the river.  KATNISS hears them and sets out in search of him. She finds a trail of blood near the river and follows it to where PEETA has camouflaged himself in the rocks. KATNISS helps move him to a nearby cave where they are well hidden.

Act III

KATNISS attempts to heal PEETA’S sword wound but realizes he has blood poisoning--which can only be cured with medicine. KATNISS despairs, but then, as if by magic, an announcement rings out that there will be a feast at the cornucopia for all the tributes—which will also include something each tribute desperately needs. PEETA begs KATNISS not to leave him and risk her life trying to save him. KATNISS reluctantly agrees, knowing there may very well be medicine at the cornucopia that could save his life. They share a brief kiss—thinking it might help them gain more sponsors. However, a jealous and KATNISS-smitten GALE watches the kiss on the big screen in District 12.  KATNISS waits till PEETA falls asleep—then heads for the cornucopia.

When she arrives, she sees FOXFACE sprinting towards the supplies and escapes without incident. KATNISS decides to mimic FOXFACE’S moves and sprints out to grab the medicine.  But she is thrown off guard when a knife, launched by CLOSE, suddenly hits her.  The two wrestle and fight, but CLOSE gets the upper hand and presses a knife to her throat.  She teases and mocks her for teaming up with the “little monster from District 11,” RUE. Before CLOSE can slit KATNISS’ throat, CLOSE is lifted off of KATNISS by THRESH, the male tribute from District 11, who throws her against the cornucopia wall. He proceeds to beat her to death against the wall despite her cries for CATO. THRESH tells KATNISS that she gets this one chance to escape him since she helped RUE but, after this, everything is fair game. KATNISS runs off into the forest.

She returns to the cave with the medicine, quickly administers it to PEETA and herself, and the wounds heal immediately.  The two genuinely hug each other and fall asleep into each other's arms. The next day, they split up to find food. During her hunt, KATNISS hears a cannon signaling another tribute death. Panicked, she runs back to where PEETA was, and finds him near a berry bush, standing bewildered with a handful of berries.  A dead FOXFACE lies on the ground with berries in her hand. In a mix of anger and relief, KATNISS slaps PEETA, telling him that the berries are Nightlock and extremely poisonous. The pair consider if CATO would ever fall for the same trap that FOXFACE did. Unsure of what's to happen, they freeze and ready themselves for an impending attack.

In the distance, THRESH cries out followed by the sound of the cannon, signaling his death. They pause for a moment, but then a giant (polar-bear-sized), ferocious mutated dog leaps out at them and begins to chase them. KATNISS and PEETA sprint through the forest as two more dogs begin to pursue them. They are chased to the cornucopia where PEETA helps KATNISS climb on top -- barely making it up himself. They sit back in relief thinking the dogs will kill the last survivor, CATO, and they will be crowned the victors. CATO, however, is secretly already on the cornucopia and attacks KATNISS from behind and tries to throw her to the dogs. The three fight each other and CATO grabs KATNISS by the throat, holding her near the edge of the structure before PEETA manages to fight him off of her. CATO then gets the upper hand and puts PEETA in a choke hold to either break his neck (as seen before) and/or throw him to the mutant dogs viciously barking only feet away below.

KATNISS pulls an arrow and points it at CATO and PEETA--uncertain whether or not she can hit CATO.  A bloodied and sadistic CATO tells her that he knows what the games are about now: tributes aren't just entertainment.  They're all weapons designed to make the spectacle of death as painful and unnecessary as possible.  Meanwhile, a choking PEETA is trying to tell KATNISS something. CATO warns that if she shoots him, then her 'lover boy' goes down with him…to the dogs. KATNISS then shoots CATO’S hand, forcing him to let go of PEETA. PEETA then pushes CATO off the edge to be mauled and eaten by the dogs. KATNISS and PEETA watch a moment, then KATNISS shoots an arrow into CATO, ending his misery. The last cannon goes off and KATNISS and PEETA realize they've won the Hunger Games. They embrace and wait for a helicopter to come take them home.

No helicopter comes. An announcement then reveals that the rules which allowed two winners has been revoked, and only one tribute can remain.  PEETA begs KATNISS to kill him so that she may win, but she takes out her hand and holds out some Nightlock berries for all of the Capitol to see. She keeps some for herself and gives the rest to PEETA, hinting that she'd rather the Capitol have no winners instead of one. Before they can commit suicide together, a speaker suddenly pleads them to stop and announces that they have both won. They are brought back to the Capitol where HAYMITCH tells them how foolish they are to have defied the Capitol like that, and he instructs them to play up the star-crossed couple routine at their final interview. They oblige but HAYMITCH relents that it will never be enough for the Capitol.

We see SENECA CRANE being led into a finely polished room. The door is locked behind him while a goblet is set on a pedestal in front of him, containing Nightlock. Although we do not see it, we are led to believe that he is forced to commit suicide.

PEETA and KATNISS travel back to District 12 by train to a hero's welcome. HAYMITCH warns KATNISS that she is now a political enemy after such a public defiance against the Capitol’s leaders. PRESIDENT SNOW watches as the two are greeted by a crowd of cheering residents including PRIMROSE, KATNISS’ mother, and GALE. PEETA takes KATNISS' hand and holds it up in the air.  SNOW walks away with a pondering look on his face: what to do about the two victors and the feelings of rebellion they may have created in the Districts.

             

Scriptwriting Software & Story Development Tools

Free Software:

WriterDuet

Celtx

Story Touch

Drama Queen

Dub Script

Page2Stage

Plotbot

Trelby

BPC-Screenplay

 

For Pay Software:

Final Draft—the industry standard

Movie Magic Screenwriter

Links

Want to read the full Argo script?  You can find it online here.

Want to read the full Life of Pi script?  You can find it online here.

Screen scene one—along with many other scenes in this move online at:  
Scene 1

Starship Voyager bible reveals these and many other series details, and can be found online here.

See show bibles for Battlestar Gallactica, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and  many others online here.

For more detailed explanation of the genres of dramatic programs

To see clips of the Lost episode called The Moth

See the script that the In-Depth Analysis of, Lost: The Moth, online at:   http://www.imsdb.com/transcripts/Lost-The-Moth.html

To see Jennifer Johnson, the co-producer and co-writer for the Lost episode called The Moth, talk about the flashback scenes with Charlie and Liam and why they wrote them.  The clip includes behind-the-scenes video of the filming of The Moth episode.

Six Benefits of Employing a Screenplay Flashback

To access the complete plot diagram for The Moth, see the attached PowerPoint slides

Lost Script Close Ups

NOTE: it’s not unusual for the order and content of the scenes in a television or film program to be different in the script.  This is because changes are made in the script during production.  Therefore, the script scene numbers in this section are scenes and sequences in their order in the film, and do not match the scene numbers in the script.  However, I have included notations in the scene descriptions about which film scenes match the scenes included in the actual script—along with their page numbers.  Also, one of the characters in the original script is misnamed: Ian (in script) is actually “Liam” in the program.  I have used the name Liam in these script samples.  Be sure to look at the actual script -- as this will allow you to compare how the script-version matches the actual screen version of this show.

Script Close-Up: How to Write Flashbacks

These next four scenes show you how to write a flashback that provides backstory without taking lots of screen time.  See how the main character, Charlie, goes from being chased by a wild boar to confessing his sin and meeting up with his brother in a matter of seconds!  The scene combines stirring, dramatically-compelling visual action with a sound overlap noted as “Pre-lap” (see highlighted below).  This leads the viewer into the next two scenes which contain the flashback which reveals Charlie’s religious background and reveals why he’s a guitar player which led to drug addict: his own brother.

Scene Location: 2:05

3          EXT. JUNGLE - CLEARING - MEANWHILE
WIDE ON CHARLIE, alone, inexplicably standing in the middle
of a clearing, surrounded by tall, dense brush.
         
CUT IN CLOSE on his face - Looking pale, breathing shallowly.
His eyes dart around, anxiously. When suddenly he hears A
TWIG SNAP. His head SWINGS toward the direction. Whispers --
         
CHARLIE
Locke?    Th-that you?
         
The SNAPPING becomes QUICKER, the nearby brush shakes, and we
hear an UNGODLY SCREECH! Something's charging --
AND CHARLIE RUNS FOR HIS LIFE! TRACK WITH him as he crashes
through the flora, weaving among the tall trees -- TIGHT ON
HIS FACE, terror in his eyes, when we hear:
         
CHARLIE (PRE-LAP) (cont'd)
Bless me, Father, for I have
sinned...
         
         
4          INT. CHURCH - CONFESSIONAL BOOTH - DAY - FLASHBACK              4
         
Someone kneeling, head bowed, penitent before a priest --
         
                                  CHARLIE
It's been a week since my last
confession.
         
He lifts his head and we recognize that this CLEAN-CUT GUY IN
TAILORED CLOTHES is CHARLIE, five years younger. GONE is the
nail polish, the grungy clothes. He hesitates...
         
                                  PRIEST
Go ahead, my son.

                                  CHARLIE
Last night, I had... physical...                          
relations... with a girl I... I
didn't even know.        
                                  
Charlie then confesses how he had sex with another girl right after the first one, then watched them as the two girls had sex with each other.  He casts the blame for his sin on his rock band’s success and the temptations of girls throwing themselves at him, etc.  The priest replies with a comment that includes (and foreshadows) the theme in this program: all people face temptations and that giving in to temptation is a choice.  Life consists of a series of choices and we don’t have to make self-destructive choices.  Charlie then tells the priest that he has made his choice—implying that he’s going to quit the band.  But then Charlie’s tempter-brother Liam appears in this flashback sequence:

Scene location: 4:07
                         

5          INT. CHURCH - A MOMENT LATER - FLASHBACK
As Charlie emerges from the confessional...

LIAM (O.S.)
And the meek shall inherit the
earth.
         
Charlie glances up to see, in a pew by the aisle...                 
         
LIAM, a "MU$IC $LUT" T-shirt and ripped jeans. (His look
should say OASIS, THE VERVE -- NOT HEAVY METAL.) A few years
older than Charlie, he's a guy you can't take your eyes off.
Good-looking, charismatic. His motorcycle boots draped over
the pew in front of him.
         
                                     CHARLIE
(mortified, sotto)
Liam -- You're in a church! Get
your sodden boots off there.

              Liam does so as Charlie wipes the pew with his jacket sleeve.        
         
                                     LIAM
Relax, Choir Boy.   I bring tidings                    
of great joy...                                         
         
He flashes a smile as he holds up a BUSINESS LETTER --
         
LIAM (cont'd)
We've just been signed to a
recording contract. You're gonna
be a rock god.
         
And as the news LANDS ON Charlie, we BLAST BACK OUT TO --

…scene six.  But first, what did the flashback do? 

• It revealed back-story very quickly and efficiently—screen-time wise
• It enhanced our understanding of Charlie as an imperfect guy who gives into lustful temptations that he knows are wrong.
• It introduces Liam -- the stereotypical, self-indulging fame-seeker who lures Charlie back into the rowdy, sex-crazed life of a rock band. 
• It provides the much-needed back-story that helps us to understand later scenes in the program.

Script Close-Up: How to Write a Pre-Commercial Tease

The next two scenes follow the flashback sequence, and a continuation of the program’s A-plot.  This scene reveals how the scriptwriter returns the viewer back to real-time after the flashback and continues the story—right up to the commercial break.  Notice how the writer teases us to watch through the commercial break by ending the scene on a character beat and plot point. Suspense and anticipation is elicited through the character’s confrontational line at the end– along with a dramatic scene-ending close-up shot on Charlie.

Scene location: 4:41 (continues from previous scene) 

6             EXT. JUNGLE - MORNING                                           6
         
CHARLIE -- as he continues to TEAR ASS through the jungle.
WHIPPING PAST TREES -- HURDLING BUSHES -- until he reaches --
         
A DEAD END.   He spins around in time to see --
         
A SQUEALING FLASH OF FUR BURSTS THROUGH THE BRUSH...
         
ON CHARLIE - Breathing hard, pinching his eyes closed, as the
thing bares down on him, then...
         
CLOSE ON A ROPE draped across a tree branch PULLING TAUT and
              WE SEE A SCREECHING BOAR -- ASCENDING INTO THE SKY --
SQUEALING AND CONVULSING IN A NET.

LOCKE (O.S.)
Nicely done, Charlie...

Charlie looks over at                                               
          
LOCKE -- securing the pull-rope attached to the BOAR TRAP.          
         
LOCKE (cont'd)
You make excellent bait.
         
ON CHARLIE, taking a step toward him, as all shades of that         
good kid in the confessional melt away, and a DARKNESS falls        
over his eyes. He speaks in a harsh, dangerous whisper.             
          
                                  CHARLIE
Glad I could oblige. Now give me my bloody drugs.

And off a glowering CHARLIE --

                                                            CUT TO BLACK:

END OF TEASER

Note the words and phrases IN ALL CAPS--which assists the crew in envisioning and executing their particular jobs within this scene.  This includes images that need to be captured—along with the speed, props, etc.—all written in descriptive language, with active verbs, and shot designations that the production team can easily see and understand.  And the content of the scene puts the viewer into a state of suspense: how is Locke going to respond to Charlie’s demand?   What might Charlie do in response to Locke’s dangerous and dramatic manipulation?

Script Close-Up: How to Integrate a Theme into a Script

            We return from the commercial and the dramatic action continues where we left off.  This is a pivotal scene in the Charlie-Locke main plot.  Charlie, the drug-addicted fallen “rock god” desperately seeks to quench his body’s hunger for more drugs.  Meanwhile, Locke, the epitomy of stoic discipline and self-control, denies Charlie the drugs.  It’s a classic example of characters’ conflicting values and goals.  Also, this is where Locke recognizes Charlie’s problem, makes an ingenious deal with him and, in the process, reveals an aspect of the program’s theme which ultimately makes this a pleasurable, meaningful and satisfying program. 

Scene location: 5:35 (follows black hole/commercial)

7          EXT. JUNGLE - CONTINUOUS                                        7
         
ON fuming Charlie trailing Locke ON THE MOVE, calmly receiving Charlie's verbal assault.                                 
         
                                  CHARLIE
You hear what I said? I want my                            
                        drugs back! I need them!

                                  LOCKE
Yet you gave them to me.    Hmmm.

The scene continues as Charlie confesses that he’s sick and weak.  Then Locke makes a proposal that affects the drama between them for the balance of the show.                                        
         
Locke comes to a nearby backpack resting on a rock and, from a side pocket, removes a HUGE HUNTING KNIFE. ON CHARLIE --seeing the knife -- What's Locke got in mind here?
         
LOCKE (cont'd)
I'll let you ask me for your drugs
three times. And the third
time...? I'm going to give them to
you. Now. Just so we're clear.
(gesturing with knife)
This was one.

              As Charlie takes that in, Locke crosses to the netted boar.
         
                                  CHARLIE
Why-- Why are you doing this? To
torture me? Just throw them away --
Get rid of `em and be done with it!
         
LOCKE
If I did that, you wouldn't have a
choice, Charlie.

              CHARLIE reacts, remembering the words of his priest as LOCKE
grabs the netting surrounding the squealing boar.
          
LOCKE (cont'd)
Having a choice, making decisions
based on more than instinct...
(indicates the boar)
                                 
...is the only thing that separates
you from him.
         
With that, Locke (OFF-CAMERA) stabs the boar in the throat.
         
AND ON CHARLIE, as he adverts his eyes, the Boar letting out        
an AGUISHED SQUEAL...                                         

Notice Locke’s appeal to Charlie’s sense of logic: you can act like a human or act like an animal…it’s up to you.  This is a profound moment in the story.  It increases the dramatic tension of Charlie’s inner conflict, and the conflict-tension with Locke.  And it gets at the theme of the program: humans are different from animals. We have free will and a moral conscience to choose to act like an animal or a human being. 
Scenes eight through 13 progresses the A-plot and introduces the other subplots in this episode, including:

B-plot: Sayid’s idea to make contact with the world through a radio that he cobbled together.
C-plot: Kate-Sawyer relationship
D-plot: Jin and Sun’s relationship

Script Close-Up: How to Write a Set-Up, Enhanced Production Technique, and a Tease 

Scene 14 is a continuation of the forward movement of the Charlie-Locke A-plot.  For the episode-story to work, Charlie has to be trapped in a cave and come across an insect that Locke will later use as an object lesson to help Charlie overcome his drug-demons.  This part of scene 14 shows the cave collapsing and Jack being trapped -- which foreshadows Charlie’s later scenes with Jack and Locke and the insect-object lesson included in this episode.  The scene also shows how to heighten chaos in a scene through handheld camera technique, and how to end a scene on an action-driven plot point before a commercial break—see highlights below.

Scene location: 12:36
                                            

               ANGLE ON CAVE ENTRANCE - A THICK CLOUD OF DUST bursting from
it. HANDHELD -- CHOATIC --                                        
         
Hurley, Jin and Sun hurry over -- DUST SWIRLING EVERYWHERE as
they find... CHARLIE, choking and coughing, on the ground by      
what used to be the cave entrance, now sealed by rock and
earth.
         
HURLEY (cont'd)
Charlie! Where's Jack?
(no answer)
                            WHERE'S JACK?
         
A coughing Charlie lifts his arm AND POINTS AT THE CAVE-IN.
And OFF HURLEY'S look of dread...
         
                                                               CUT TO BLACK:     

END OF ACT ONE

Lost: Act 2

The purpose of act two is to flesh out the characters and their storylines and to heighten the audience’s care and concern for the characters and the story.  Scenes 16 through 21 in the script do this quite well—leading up to a pivotal scene and plot point in this episode: Locke introduces an object lesson that will, eventually, forever transform Charlie’s life. 

Script Close-Up:  Writing Metaphor and an Object Lesson

 

24           EXT. JUNGLE - DAY
CHARLIE, his withdrawal symptoms worsening, heading through      
the jungle to the place where Locke trapped the boar -- 

The dialogue then shows Charlie informing Locke about Jack being trapped in the cave, with people digging to get him out. A weak and dejected Charlie informs Locke that he wants the drugs, then…

Scene location: 18:30 start…scene section below at 19:27                   
                                     
Locke eyes him a moment, then nods.
         
                                      LOCKE
Let me show you something...
         
He leads Charlie to a tree, points out a COCOON on its trunk.
         
LOCKE (cont'd)
What do you suppose is in this
cocoon, Charlie?
         
                                      CHARLIE
(not in the mood)
I dunno. Butterfly, I guess.
         
                                      LOCKE
No. It's much more beautiful than                  
that. This is a moth cocoon.                       
(smiles, then)
Ironic. Butterflies get all the                    
                            attention. But moths? They spin                       
silk. They're stronger. Faster...                      
         
                                    CHARLIE                                    
Yeah.   Wonderful. What's the --                      
         
But Locke ignores him, leaning in CLOSE to the cocoon.          
Transfixed -- in his own world to some degree...
         
                                   LOCKE
See this tiny hole? This moth's
almost ready to emerge. It's in
there right now, struggling,
digging its way through the thick
hide of the cocoon. Now I could
help it, take my knife, gently
widen the opening... And the moth
would be free. But it'd be too
weak to survive.
(looks at Charlie)
The struggle is nature's way of
strengthening it...
         
He pulls the baggie out of his pocket...
         
LOCKE (cont'd)
This is the second time you've
asked me for your drugs back...
         
He holds the baggie out, holds it right up to Charlie's face.
And we're CLOSE ON LOCKE as his eyes narrow...
         
LOCKE (cont'd)
Ask me again and it's yours.

               And OFF CHARLIE, hungering for a fix...
         
                                                           
Locke truly cares about Charlie as Charlie continues his struggle with his demon.  The ingenious object lesson from nature makes this a stunningly-relevant dramatic scene that moves Charlie (and us, the viewers) up to the precipice of a fateful decision.  Charlie can opt to give in to immediate-gratification and animal-like instinct, or he can exercise his higher human reasoning, self-control, discipline, and free will.  The writers close on a dramatic beat and the ever-recurring CUT TO BLACK —leaving us with an open-ended scene, then a commercial.  Hanging on and hungering for more, we can’t wait to see what’s going to happen next!

 

Lost: Act 3

Acts three and four in this program include events that would normally be included in act two in a conventional three-act program structure.  However, based on commercial sponsorship, act two is broken up into multiple acts.  Scenes 25-32 continue the A-B-C-D plot progression.  Then scenes 33-36 include the classic race-against-time technique that shows fast cutting  between the cave entrance and the tunnel.  Note the scene number changes occurring on each cut between the two locations with the sounds of rocks falling, “oh no’s,” and Charlie struggling to break through to help Jack!  

 

Script Close-Up: How to Write a Race-Against-Time Sequence

            The race-against-time sequence is, probably, one of the most successful and most often used techniques to heighten viewer attention and emotional involvement in a film or television show.  Note how the writer notes that the sequence includes “intercuts with” in-between different locations, and how the scenic descriptions include intense language (eg. “struggling,” “rumble,” and rocks falling down, and characters crawling as fast as they can, etc.) that is included to heighten the dramatic intensity and anticipation in the characters and in the viewers.  This is the key to writing a good race-against-time sequence that the crew can understand and shoot.

Scene location: 28:12
 

33           INT. THE VALLEY - TUNNEL - DAY
CHARLIE - struggling through the tunnel, scrapes on his face,
his flashlight finding the opening just up ahead... Then --
         
A RUMBLE. A few SMALL ROCKS fall down in front of him. He
pushes his way through. But it's getting worse -- harder and
harder to see as --
         
                                                             INTERCUT WITH:                                                               

34           INT. THE VALLEY - CAVE ENTRANCE - DAY
The rescue team as they hear the RUMBLE too --
         
                          MICHAEL                            HURLEY
Oh no --                                                               -- What?

MICHAEL
(into the tunnel)
CHARLIE! MOVE!

35           INT. THE VALLEY - TUNNEL - DAY
CHARLIE. As MORE AND MORE ROCKS crumble from the walls and          
ceiling of the tunnel. And now he can hear Michael screaming        
at him --                                                                

MICHAEL (O.S.)
IT'S COMING DOWN!

Charlie picks up his pace, crawling AS FAST AS HE CAN.   And
just as the TUNNEL COLLAPSES BEHIND HIM –

36           INT. THE VALLEY - JACK'S CAVE - DAY
Charlie FLINGS HIMSELF into the open space where Jack is.
But even that space is compromised as --

STREAMS OF DIRT AND ROCKS POUR INTO IT. The air is black,
CHOKED with dirt and dust. And as JACK struggles to see
through the near-darkness, coughing and gagging, he spots...
CHARLIE - looking at him, almost sheepishly.

CHARLIE
I'm, uh... here to rescue you.
                                                           
What do you think?

As you recall from chapter two in this book, one of the purposes of dialogue is to convey what the character is thinking and feeling.  In this scene, Charlie has just barely escaped death, and when coming face-to-face with Jack, doesn’t say “Jack, are you okay,” or “Jack, I’m here, you’re going to be okay,” but says: “I’m uh…here to rescue you”—words that focus the meeting on himself.  Is it possible that these are the words of an injured, self-loathing man whose rescue attempt is a way of purging himself of his guilt for past sin (eg. drug use leading to addiction)?  Or are these just the words of a dusty-throated, inarticulate man attempting to help someone?  You be the judge.

The scene concludes with a cut to black and an “end of act three” notice in the script.

Lost: Act 4:

Act four includes a series of scenes that continue to propel the story forward through character and subplot development.  There are a few more instructive scenes that reveal some more great writing techniques.

Script Close-Up: How to Write a Recurring Motif

Recurring motifs are recurring devices that can help to develop and inform a story’s major theme(s).The motif can appear in the form of an idea, an object, a place, or a statement.You recall that a moth was introduced earlier (by Locke) as an object lesson for Charlie --specifically the importance of the moth’s struggle to escape from the cocoon, and how this struggle is what strengthens and guarantees the moth’s survival.  This idea was introduced to a struggling, drug-addicted Charlie as an analogy for how he must also struggle to overcome his demon drug addiction. 
See what shows up with Jack and Charlie in the collapsed cave and saves the day… perhaps a foreshadowing of more to come in the A-plot?

Scene location: 33:37 starts  (line below starts at 35:07)

41           INT. THE VALLEY - JACK'S CAVE - DAY

JACK (cont'd)                              
What's wrong?                                         

CHARLIE
There's a moth.                                         

JACK
A what?                                                  

CHARLIE
(getting to his feet)
Right there. Behind you. It's...
There's a bloody moth in here.

He points the flashlight just past Jack to reveal A MOTH.
Luminous, ghostly, beautiful. It floats over to a nearby           
wall and disappears into an unnoticed crack high up.               

The scene ends with Charlie and Jack seeing a small ray of light and frantically digging.  The scene cuts away as they dig their way out.

            Scenes 42-44 include Charlie and Jack digging and exiting through the moth’s exit from the collapsed tunnel—along with other sub-plot scenes.  Then, scene 45 displays how to write a scene that will compel the viewer to want to tune in next week to the show!

Script Close-Up: How to Write an Unresolved Sub-Plot

            This is where, in the story, the Sayid-radio sub-plot progresses and how the writer suddenly ends the scene—causing the viewer to want to watch the show next week.

Scene location: 37:57

NOTE: Scene 45 in the show is scene 46, p. 49 in the script and is the last scene in act four. 

45           EXT. STEEP GRASSY INCLINE (KUALOA RANCH) - LATE AFTERNOON
Sayid. His face LIGHTS UP as Shannon's bottle rocket
EXPLODES in the SKY OVER THE BEACH.

SAYID
Come on, Kate. One more...

BUT NOTHING IS HAPPENING. No bottle rocket. Sayid begins to
look nervous for a moment, then... SWOOSH -- the third bottle
rocket EXPLODES above the jungle. And although it's lost on
Sayid, we can't believe Sawyer actually came through.
SAYID switches on his antenna, the one connected to the
transceiver -- and we see CLOSE ON TRANSCEIVER - Bars. He's
getting BARS.

SAYID (cont'd)
Yes!   Yes, yes, yes!

As he slowly pivots his body away from CAMERA, trying to find
the source... A SHADOW falls over him. Someone is behind
him. Sayid senses it, but before he can turn...

WHAM! A LARGE ROCK in the hand of someone we don't see SLAMS
down on Sayid's head!

And as Sayid CRASHES to the ground, unconscious...               


END OF ACT FOUR

We’ve been rooting for Sayid’s success throughout the story.  What is the mysterious transmission, and how might it help them escape the island?  Then, just as we vicariously experience Sayid’s success, he gets knocked out.  Who did this?  What happens next?

Lost: Act 5

Act five serves the equivalent purpose as act three in a three-act structure story: provide a climax and resolution to the A-plot, and signal other open-ended plot-stories to be covered in later episodes. Scenes 46 and 47 accomplish this.  Then, scene 48 shows the A-plot’s dramatic climax to Charlie’s inner conflict and struggle with drug addiction.  Take a look and see how the writer’s scenic descriptions and dialogue convey the climax, resolution, and theme in a powerful and compelling story.  

Script Close-Up: How to Write a Climax and Resolution 

This is the last scene in this episode.  It includes Charlie asking a reluctant Locke for his drugs one last time.

48           INT. VALLEY - LOCKE'S CAMP - CONTINUOUS
ON LOCKE, turning the boar on the spit when he hears:

CHARLIE (O.S.)
Give them to me.

               Locke looks up to see Charlie, and gives a heavy sigh.

LOCKE
This is the third time, you know.                     
Are you sure you really want --

CHARLIE
I'm sure.

               Locke nods, pulls the baggie of powder from his pocket.
Hands it to Charlie. Charlie regards the grimy bag in his          
hand -- THEN TOSSES IT INTO LOCKE'S FIRE.                           

Locke looks up at him. Too hard to read. Maybe impressed.
Maybe surprised. Maybe exactly what he expected. Then --

LOCKE
I'm proud of you, Charlie.   Always
knew you could do it.

               Charlie nods, then suddenly notices...

HIS POV - SEVERAL MOTHS, dancing in the air near the flame         
they're forever drawn to. And while Charlie continues to           
stare at them... LOCKE continues to stare at him. Smiling          
that smile.

                                                                                                                          BLACK OUT.

THE END

               The story goes full-circle.  It started with a boar and it ended with a boar—this time being cooked.  Charlie decided to take the high road -- which is the difference between acting instinctively like an animal versus acting in self-control like a human being…making for a satisfying ending.

For more info about the Lost series

Complete Plot Diagram The Moth episode

Download

Types and Techniques of Comedy

Table 6.1

Comedy Type	Definition:	Examples
Parody	Broad, comical imitations of something or someone.	Austin Powers, Saturday Night Live (SNL), Shrek
Satire	Soft/subtle put-down mockery; can be shocking to get people to question social mores and/or political institutions.  More subtle than parody, and lacks the comic imitation of parody or spoof.	Airplane, Borat, This is Spinal Tap, The Daily Show
Spoof	Like parody, has comic imitation, but has more of a “put down” feel to it, and makes fun by exaggeration and playing it seriously.	Scary Movie 1-5, Spaceballs, SNL, Simpsons, South Park, Family Guy
Lampoon	Harsh satire--usually directed against an individual, person, or institution.  Often disrespectful, iconoclastic, and/or sac-religious, lampooning everyone from pop stars to Santa Claus to the Pope.	National Lampoon
Farce/Screwball	Character lies, physical humor, outlandish incidents, deliberate absurdity, and often vulgar subject matter. Aims to entertain by incongruity and improbability, and portrays human beings as vain, irrational, infantile.	Farce of the Penguins, Delta Force, The Office, Seinfeld, Friends
Black/Dark Comedy	Deals with topics and events usually regarded as taboo and are treated in a humorous manner while retaining their seriousness. Often used as a tool for exploring important issues like rape, murder, suicide, war, physical and mental illness, abuse, and crime, thus provoking discomfort and serious thought, as well as amusement.	Dark Comedy Movie Scenes, Dr. Strangelove, Dead Like Me
Irony	When a contradictory idea from a character speech or situation contradicts their own beliefs or actions.	Anger Management, Big Bang Theory
Props/Devices	The first great film comedian, Charlie Chaplin, established the use of props and devices as a legitimate comedic technique.His improvisational style invited comical interactions with everything from dinner rolls, to pitchforks and bull tails, to broken assembly lines.  This style has been successfully copied by many film and TV characters.	Chaplin, Mr. Bean
Gags	Verbal or visual comic bits that appear once or are repeated several times in a film or TV show.	Amelie gnome scenes (last minute of clip), Airplane, Seinfeld, SNL’s Matt Foley “Talking to Kids About Drugs” (Down by the River) sketch

Miller, Screenwriting, 185.

Comedy Clips/Examples

Satire: soft/subtle put-down mockery; can be shocking to get people to question social mores and/or political institutions.  More subtle than parody, and lacks the comic imitation of parody or spoof.  Examples:

Airplane

Borat

This is Spinal Tap

The Daily Show

Spoof: like parody, has comic imitation, but has more of a “put down” feel to it, and makes fun by exaggeration and playing it seriously.

Scary Movie 1-5

Spaceballs

SNL’s Spoof Scenes

SNL-The Millenials

Simpsons

South Park

Family Guy

Lampoon: harsh satire--usually directed against an individual, person, or institution.  Often disrespectful, iconoclastic, and/or sacreligious, lampooning everyone from pop stars to Santa Claus to the Pope.  Example: National Lampoon

Farce/Screwball: character lies, physical humor, outlandish incidents, deliberate absurdity, and often vulgar subject matter. Aims to entertain by incongruity and improbability, and portrays human beings as vain, irrational, infantile.  Examples:

Life in Pieces

Man with a Plan

Young Sheldon

Farce of the Penguins

Delta Farce

The Office

Seinfeld

Mr. Bean

Black/Dark Comedy: deals with topics and events usually regarded as taboo and are treated in a humorous manner while retaining their seriousness. Often used as a tool for exploring important issues like rape, murder, suicide, war, physical and mental illness, abuse, and crime, thus provoking discomfort and serious thought, as well as amusement.  Examples:

Dark Comedy Movie Scenes

Dr. Strangelove

Dead Like Me

Irony: when a contradictory idea from a character speech or situation contradicts their own beliefs or actions. Examples:

Story Of This Life

Anger Management

Big Bang Theory

Props/Devices: The first great film comedian, Charlie Chaplin, established the use of props and devices as a legitimate comedic technique.His improvisational style invited comical interactions with everything from pitchforks to bull tails to broken assembly lines.  This style has been successfully copied by many film and TV characters.

Chaplin Clips

Mr. Bean

Gags: verbal or visual comic bits that appear once or are repeated several times in a film or TV show.  

Mr. Bean

Amelie gnome scenes

Airplane

Seinfeld

Monty Python… Clips:

Coconuts: Incongruities, Gags, and Prop Devices

You can see a clip of this scene here

Bring Out Yer Dead!Farcical Incongruity

The “Monty Python-The Annoying Peasant”:  

The Black Knight

Bring Out Yer Dead: Farcical Incongruity

A later scene displays the farcical treatment of humans who died during the Black Plague--which nearly wiped out the European population in the 14th century, A.D.  It features a character who plays “The Dead Collector” pulling a cart full of dead people behind him as he walks through a London street calling “Bring out yer dead.”  He stops by the character, “Large Man with Dead Body,” who’s carrying “The Dead Body That Claims It Isn’t” character.  The guy claiming he’s not dead yet gets into an argument with the collector and the guy carrying him—culminating in a funny (but cruel and violent) conclusion. 

The Dead Collector: Bring out yer dead.

[a man puts a body on the cart]

Large Man with Dead Body: Here's one.

The Dead Collector: That'll be nine pence.

The Dead Body That Claims It Isn't: I'm not dead!

The Dead Collector: What?

Large Man with Dead Body: Nothing. There's your nine pence.

The Dead Body That Claims It Isn't: I'm not dead!

The Dead Collector: 'Ere, he says he's not dead.

Large Man with Dead Body: Yes he is.

The Dead Body That Claims It Isn't: I'm not.

The Dead Collector: He isn't.

Large Man with Dead Body: Well, he will be soon, he's very ill.

The Dead Body That Claims It Isn't: I'm getting better!

Large Man with Dead Body: No you're not, you'll be stone dead in a moment.

The Dead Collector: Well, I can't take him like that. It's against regulations.

The Dead Body That Claims It Isn't: I don't want to go on the cart!

Large Man with Dead Body: Oh, don't be such a baby.

The Dead Collector: I can't take him.

The Dead Body That Claims It Isn't: I feel fine.

Large Man with Dead Body: Oh, do me a favor.

The Dead Collector: I can't.

Large Man with Dead Body: Well, can you hang around for a couple of minutes? He won't be long.

The Dead Collector: I promised I'd be at the Robinsons'. They've lost nine today.

Large Man with Dead Body: Well, when's your next round?

The Dead Collector: Thursday.

The Dead Body That Claims It Isn't: I think I'll go for a walk.

Large Man with Dead Body: You're not fooling anyone, you know. Isn't there anything you could do?

The Dead Body That Claims It Isn't: I feel happy. I feel happy.

[the Dead Collector glances up and down the street furtively, then silences the The Dead Body with a whack of his club]

Large Man with Dead Body: Ah, thank you very much.

The Dead Collector: Not at all. See you on Thursday.

Large Man with Dead Body: Right.

Comedy Techniques

• Farcical incongruity: a consciously-alive person having an absurd conversation about whether he’s dead or not.  It’s a scene of black/dark comedy that works well in the context of this story, its time, and its setting.            

The Annoying Peasant: Incongruity and Absurdity

            This next scene involves King Arthur encountering two overly-knowledgeable peasants who are more interested in debating political philosophy than giving him directions…and inserting some funny put downs of the legitimacy of the King’s kingship.

King Arthur: Old woman.

Dennis: Man.

King Arthur: Man, sorry. What knight lives in that castle over there?

Dennis: I'm 37.

King Arthur: What?

Dennis: I'm 37. I'm not old.

King Arthur: Well I can't just call you "man".

Dennis: Well you could say "Dennis".

King Arthur: I didn't know you were called Dennis.

Dennis: Well you didn't bother to find out did you?

King Arthur: I did say sorry about the "old woman," but from behind you looked...

Dennis: What I object to is you automatically treat me like an inferior.

King Arthur: Well I am king.

Dennis: Oh, king eh? Very nice. And how'd you get that, eh? By exploiting the workers. By hanging on to outdated imperialist dogma which perpetuates the economic and social differences in our society?

Woman: Oh. How do you do?

King Arthur: How do you do, good lady? I am Arthur, King of the Britons. Whose castle is that?

Woman: King of the who?

King Arthur: King of the Britons.

Woman: Who are the Britons?

King Arthur: Well, we all are. We are all Britons. And I am your king.

Woman: I didn't know we had a king. I thought we were an autonomous collective.

Dennis: You're foolin' yourself! We're living in a dictatorship. A self-perpetuating autocracy in which the working class...

Woman: Oh, there you go bringing class into it again.

Dennis: Well, that's what it's all about! If only people would...

King Arthur: Please, please, good people, I am in haste. Who lives in that castle?

Woman: No one lives there.

King Arthur: Then who is your lord?

Woman: We don't have a lord.

Dennis: I told you, we're an anarco-syndicalist commune. We take it in turns to be a sort of executive officer for the week...

King Arthur: Yes...

Dennis: ...but all the decisions of that officer have to be ratified at a special bi-weekly meeting...

King Arthur: Yes I see...

Dennis: ...by a simple majority in the case of purely internal affairs...

King Arthur: Be quiet!

Dennis: ...but by a two thirds majority in the case of...

King Arthur: Be quiet! I order you to be quiet!

Woman: Order, eh? Who does he think he is?

King Arthur: I am your king.

Woman: Well I didn't vote for you.

King Arthur: You don't vote for kings.

Woman: Well how'd you become king then?

[Angelic music plays... ]

King Arthur: The Lady of the Lake, her arm clad in the purest shimmering samite held aloft Excalibur from the bosom of the water, signifying by divine providence that I, Arthur, was to carry Excalibur. THAT is why I am your king.

Dennis: [interrupting] Listen, strange women lyin' in ponds distributin' swords is no basis for a system of government. Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony.

King Arthur: Be quiet!

Dennis: Oh, but you can't expect to wield supreme executive power just because some watery tart threw a sword at you.

King Arthur: Shut up!

Dennis: Oh but if I went 'round sayin' I was Emperor, just because some moistened bint lobbed a scimitar at me, they'd put me away.

Dennis: Come and see the violence inherent in the system. Help! Help! I'm being repressed!

King Arthur: Bloody peasant!

Dennis: Oh, what a giveaway! Did you hear that? Did you hear that, eh? That's what I'm on about! Did you see him repressing me? You saw him, didn't you? 

Comedy Techniques

• Incongruity and absurdity of two 14th century peasants talking about modern political philosophy and socialist decision-making process
• King Arthur getting baited into the debate and leaving with frustration 

Saturday Night Live Videos

Matt Foley: Talking to Kids About Drugs:

Saturday Night Live (SNL) full episodes

Top 10 Hilarious SNL Singer Parodies (includes narrator explanation how actors nail singer-character look, speaking voice, and mannerisms)

Miller, Screenwriting, 185.

WRITING SITCOMS – Big Bang Theory and The Office

Introduction

The Big Bang Theory and The Office represent two different sitcom styles:

• The traditional multi-camera sitcom (The Big Bang Theory); and
• The single-camera mockumentary sitcom (The Office)

Definition: mockumentary sitcom—a sitcom that looks like a documentary…but isn’t.  It’s a sitcom in which fictional events are presented in documentary style to create a parody. 

Normally, the number of cameras recording a television program would not necessarily affect the writing style of the script.  However, these two styles of sitcom production requires some differences in the writing. The traditional multi-camera sitcom uses three to five cameras to record a scene—with cuts between characters as they talk and walk and reveal themselves and the plot through dialogue and action.  These multi-camera shows also tend to include a laugh track from the live audience that occurred during the taping of the show.  And, the characters rarely (or never) look directly into the camera unless it’s for a special effect. 

Meanwhile, the mockumentary style is a fake documentary.  It mocks the documentary style in a way that makes the show a parody.  Documentaries are normally shot with one camera – with the camera following the characters around as they walk and talk.  However, although the mockumentary looks the same, it’s really all staged in a way that optimizes the comedic moments.  What looks like real interactions and reactions of the characters are, actually, all carefully planned, staged, and practiced before the camera starts rolling. The Office includes comedic shots of the characters responding to each other through non-verbals (eg. eyes rolling, or head nodding no, or looks of disgust, etc.).  The mockumentary approach also includes comedic short interview clips revealing the characters’ personal thoughts and feelings about what’s going on with the other characters.  Also, the mockumentary doesn’t include the audience laugh track. 

            The Office established the mockumentary style as a successful and popular approach to writing and producing sitcoms, and it has been successfully-copied by Parks and Recreation, Modern Family, and other sitcoms. 

The Big Bang Theory

Introduction

            The BBT sitcom series was created by Chuck Lorre and Bill Prady—who also serve as executive producers.  Lorre is an accomplished television writer, director, producer, and has created many award-winning sitcoms, including: Grace Under Fire, Cybill, Dharma & Greg, and Two and a Half Men.  He was also an executive producer of Roseanne and Mike & Molly.  The show is produced by Chuck Lorre Productions and Warner Brothers Television, and has been airing on the CBS television network since 2007.  BBT has won numerous primetime Emmy awards and is the highest-rated sitcom since Friends ended in 2004.  BBT is now in syndication and showing reruns on TBS in the U.S., and is garnering high ratings in the U.K and Canada.

BBT scripts are character-based and character-driven.  The comic premises, stories, plots, scenes, and dialogue flow organically from the characters.  The sections below explain how each of these components work and are followed by some script close ups that reveal basic BBT comedy writing techniques. 

Big Bang Theory: Characters

 

            Much like successful dramatic programs, each BBT character is quite different.  They have different backgrounds and interests.  They look, think, and talk differently.   Each has their own triune nature, with a different set of values, traits, and mannerisms.  And, most importantly, they have a fatal flaw(s) which the writers can use to envision comedic situations that capitalize on these flaws.  These components of character combine to complement and cause characters to collide with each other—inviting all kinds of funny conflicts and situations.

The Big Bang Theory: Plot Premises

            Character action and diction are the main elements used to elicit emotional reactions in sitcom audiences.   And like drama, a well-written sitcom includes a plot which orders character beats and story plot points to reveal story incidents in the most effective way.  One of the classic plot progressions for sitcoms is the three plot structure.  Each plot involves a different character(s) problem, goal, or situation.  They are referred to as the A-plot, B-plot, and C-plot. 

Here’s a plot summary for "The Champagne Reflection" --the tenth episode of the eighth season--which aired on Thursday, November 20, 2014.

Table 6.2

A-PLOT	B-PLOT	C-PLOT
Sheldon’s corny, home-grown TV show “Fun with Flags” records its last show	Howard, Raj, and Leonard are assigned to clean up a deceased professor’s office	Bernadette has to face up to her bullying behavior

 

All of the plots involve some kind of challenge or task that the characters must work through and solve.  The A-plot is the main plot and, in this case, is about Sheldon and Amy’s long-running but last Fun with Flags internet episode.  The B-plot is about Howard, Raj, and Leonard assigned to pack up the office of a respected professor at the university who died. The C-plot is about Bernadette having to come face-to-face with one of her fatal flaws: her occasionally aggressive, combative, and intimidating interactions with people.

Every Act Has Purposeful Scenes

Much like a single plot program-story, each sitcom sub-plot has a beginning, middle, and end.  Each act in the program includes purposeful scenes for each plot that propels the A, B, and C plots forward.   The challenge for comedy writers is to envision and write action and dialogue which satisfies the purpose of each scene in a humorous way.  The chart below summarizes the general purposes of the scenes in each act.

Table 6.3

	ACT I	ACT II	ACT III
A-PLOT: Sheldon’s corny, home-grown, internet show “Fun with Flags” ends	Intro characters and problem/dilemma	Conflict, complications, difficulties to overcome to reach their goal	Climax and resolution
B-PLOT Howard, Raj, and Leonard clean up the office of a deceased professor	SAME	SAME	SAME
C-PLOT Bernadette has to face up to her bullying behavior	SAME	SAME	SAME

The writers capitalize on each character’s exaggerated personality traits and flaws to create comedic moments in every scene in every act.  The next section takes you into some script close-ups that include excerpts from BBT’s The Champagne Reflection episode.  Note the comedy writing techniques in each scene.

Big Bang Theory: Script Close Ups & Comedy Techniques

            The BBT consistentlyincludes a variety of comedy techniques that flow organically from the characters and the dramatic/comedic situations.  The script excerpt-transcripts below are taken from the The Champagne Reflection and reveal some of these different techniques. 

A-Plot Script Excerpt

Scene: office of the deceased professor

Leonard: Hey. Hey, we're supposed to look through all this stuff before we throw it away in case it's important.

Howard: I did. It's all outdated or disproved.

[Shot of Raj playing with pen with image of woman’s bathing suit falling off of her]

Raj: I don't know. This old pen kind of proves gravity. When I tilt it, her bathing suit falls right off.

Howard: Oh, my dad used to have a pen like that. I dated it all through sixth grade.

Comedy Techniques: Incongruity and Absurdity

• Raj’s absurd obsession with women
• The incongruity and absurdity of Howard’s confession of having a dating relationship with a pen—which also alludes to his absurdly-pitiful past with girls.

B-Plot Script Excerpts

Scenes: Bernadette, Penny, and Penny’s dad, Dan, in a restaurant

Bernadette: Dan, you have a grandson. How old is he?

Dan: Seven.

Bernadette: I remember him from the picnic. He was the one crying like a wuss the whole time. I heard he was being picked on by a mean kid. Just builds character. Like my dad said, "Nobody likes a crybaby except their mommies and Democrats."

Dan: I need another drink.

He gets up and heads to the bar.

Bernadette: What's his problem?

Penny: Oh. I don't know. Maybe he didn't like the fact that you called his grandson a wuss.

Bernadette: Well, I didn't think you were supposed to say "sissy" anymore.

Penny: OK, look, I know what a good person you are, but sometimes people think you might come off a little harsh.

Bernadette: What? I’m like the sweetest person I know. Look at me. I should be a tree baking cookies.

Penny: Yes, but once in a while people think you’re a little mean.

Bernadette: Oh yeah? You one of those people?

Penny: No, no, no, no. I think the cookie thing.

Comedy Techniques: Exaggeration, Incongruity, Allusions, and Wisecracks

• The incongruity of a female character (Bernadette) putting down a little boy for being less than strong
• Bernadette’s exaggeratedly-negative attitude towards a young, timid little boy
• Bernadette’s wisecrack/put-downs of Dan’s grandson (“crybaby,” “wuss” and “sissy”) and alluding to democrats as crybaby-wussy-sissy enablers
• Bernadette’s exaggeratedly combative “You one of those people?” reaction to Penny’s suggestion that some people think that Bernadette can be a little mean

Excerpts from Plot C--Sheldon’s last episode of his Fun with Flags (FWF) living room show.

Scene: Sheldon’s living room in apartment

The “Fun with Flags” (FWF) bit is a recurring ongoing story on BBT and derives its humor from the absurdity of the premise (an actual show about identifying flags), absurdly self-conscious scripts, the incongruity of the stiff/stilted performances of the BBT’s trained actors acting like they are amateurs, and the appearance of the character’s imperfections and insecurities.

Sheldon: Hello. I’m Doctor Sheldon Cooper, and welcome to Sheldon Cooper presents Fun with Flags, the final episode flag-tacular. I knew it was coming. Still scary. Now, I’m sure you’re thinking, the final episode? Who will stand between us and flag ignorance?

Amy: I know I was thinking that. Is this a show on flags or mind reading?

Sheldon: But the truth is I can no longer balance a full-time career, a popular Internet show, and a girlfriend.

Amy: And he really does have one, you jerks on the comment board.

Sheldon: So as they say, all good things must come to an end.

Amy: After only 232 episodes.

Sheldon: 233 if we include the one somebody forgot to press record on.

Amy: You said you weren’t gonna bring that up.

Sheldon: And you said you pressed record. Anyway, please sit back, relax, and join us as we take our final lap, as indicated by the waving of this racing flag. And, of course, white flags can also represent surrender, the Stewards of Gondor, and the Japanese Minamoto clan, but I’m sure you remember that from episode sixty-two, White Flags, Who’s Wavin’ ‘Em and Why?

Amy: That was a good one.

Sheldon: It was so good.

Comedy Techniques: Play on words, Absurdity, One-Liners

• The absurdity of a show called FWF
• Absurd play-on-words: “flag-tacular” in place of spectacular
• Sheldon’s absurd concern about “flag ignorance” and the end of such a trivial show
• Absurd dialogue lines—eg. Amy’s one liners about the prospect of Sheldon reading her mind and her comments to the jerks about being Sheldon’s girlfriend
• The incongruity and absurdity of Amy and Sheldon’s brief argument in the midst of FWF show about Amy not pushing the record button on a previous episode of the show

           

Scene: Sheldon is dressed up like an 18th century female seamstress sewing together the first American flag.  Girlfriend Amy is the show host posing questions to Sheldon.

Amy: Say Betsy Ross. What you working on?

Sheldon: I have no idea. Because the story of me sewing the first American flag is unsupported poppycock.

Amy: Then you did sew it, hmmm?

Sheldon: Don’t ask me. I’m just a simple seamstress whose descendants are out to make a quick buck.

Comedy Techniques: Incongruity and Absurdity

• Incongruity and absurdity of Sheldon’s appearance in a dress as Betsy Ross
• Absurdity of Sheldon’s filter-less-personality and attitude arising in Betsy Ross’ dialogue.  
• Absurdity of Betsy Ross expressing skeptical 21st century notions about who sewed the first American flag. 
• Incongruity and absurdity of Betsy suggesting that her descendants are gold-diggers and made up the story of Betsy sewing the flag.

The last scene of the last episode of FWF includes a variety of comedic techniques.

Scene: the apartment

Sheldon: Well my little flag-ke-teers. It looks like the last episode of “Fun with Flags” is at an end. If I could, I would run each and every one of you viewers up a flagpole and salute you. And if you touched the ground, burn you. I’d like to take a moment to personally thank Dr. Amy Farrah Fowler who you may or may not know is the first woman to co-host a flag or banner-related Internet infotainment show.

Amy: Take that, glass ceiling.

Sheldon: And if I may get serious for a moment, hosting this show has been one crazy ride. With all its ups and downs, I wouldn't give it up for the world. Except for now when I’m giving it up. Before I sign off I’d like to share with you one last use for a white flag. It’s good for times like this. (Crying.) Good night.

Amy: Cut. Sheldon, that was beautiful.

Sheldon: If you didn't press record….

Amy: I pressed it!

Comedy Techniques: Absurdity, One-Liners, Play on Words, Exaggeration

• Absurd “flag-ke-teers’”play-on-words for “mouseketeers” – a reference to the show characters in Disney’s Mickey Mouse Club TV show back in the 1950-‘s’60’s
• Absurd idea of viewers being pulled up a flag pole so Sheldon could salute them (a reference to the common idea of putting ideas up the pole to see who salutes/accepts)
• Sheldon’s reference to Amy’s presence in the show and the absurdity of suggesting the likelihood of another future “banner-related internet info-tainment show.”
• Amy’s absurd “take that, glass ceiling” as a reference to breaking a gender-glass ceiling for a show genre that doesn’t really exist
• Absurdity of Sheldon starting to cry over the end of such a silly show
• Exaggeration of Sheldon’s and Amy’s bickering over pressing the record button for the show

Big Bang Theory Websites & Videos

BBT: The Champagne Reflection (clips)

BBT Fan Site w/character profiles

BBT Wiki Site

Script transcript:

Champagne Reflection Script Transcript

BBT Full Episodes

BBT transcripts and scripts

Big Bang Theory YouTube Channel w/clips

 

THE OFFICE & MOCKUMENTARY STYLE

Introduction

            The Office is a sitcom depicting the lives of workers in a fictional regional office paper company called Dunder-Mifflin in Scranton, PA.  But it’s more than just about the lives of workers.  One of characters (Dwight) -- played by Rainn Wilson -- expands and shares that it goes far beyond that: “The great thing about 'The Office' and it being single-camera and the documentary style is that it's mostly a comedy, but ten percent of it is [that] we get to show the existential angst that exists in the American workplace.”  The show is, really, all about angst.

The program debuted on March 24, 2005, on NBC, as a mid-season replacement.  It is based on a British show of the same name, and produced by Greg Daniels, a veteran writer for Saturday Night Live, King of the Hill, Rugrats, and The Simpsons.  It is one of the most successful sitcoms, with 70 nominations for Emmy, Globe and other awards, along with 21 wins in the writing, directing, sound, editing, acting, and outstanding series categories.

What made this program so unique was the premise for the recording style of the show.  A documentary production team has been assigned to document the Dunder-Mifflin paper company.  So the show is, essentially, a mockumentary—which includes all of the traditional documentary production techniques, including: shaky camera, rack focuses, quick zooms, swish pans, tilts, dollies and a variety of other well-rehearsed camera techniques that suggest an improvisational “follow the action and catch it as best as you can” documentary style.  The camera moves around freely in the office and elsewhere revealing private conversations,  intimate moments and, occasionally, intruding into character’s cars, and apartments—revealing more about their personal lives.

Character interactions are often juxtaposed with short clips of talking-head interviews (sound bites) with the characters commenting/confessing to the camera crew about what they meant, how they felt, what they thought in a previous scene, etc.  These clips greatly enhance the humor in the show by revealing character pretensions, fears, faults, foibles, and other aspects of their character.  And this technique creates a heightened viewer engagement and emotional connection with the characters and their stories. 

 

The Carpet Episode

            “The Carpet” episode of The Office was the fourteenth episode in season two, and debuted on January 26, 2006.  The script for this Close-Up was written by Paul Lieberstein, and the script close-up will focus on how to write interview clips (sound bites) in a mockumentary sitcom.  This includes examining the content of The Office’s “talking head” scenes, and how to integrate and write them in a way that capitalizes on their potential for humor, but also propels the plot forward.  We’ll be focusing on two aspects of these scenes included in the mockumentary style sitcom:

• How are the talking head scenes set up?  What must the writer include in the script for these to work?; and
• How and why they are funny?  What kinds of things are said and what is revealed (about character or plot) in these scenes?   

The Carpet: Plot Summary

            The mockumentary sitcom approach uses the same three-plot episode approach as the traditional multi-camera, live-audience approach.   The A, B, and C plots below will provide a basis for examining the talking head scene examples in this script close up. 

Table 6.4

A-PLOT	B-PLOT	C-PLOT
Jim is concerned about the possibility of never winning an already-engaged Pam… who, in the end, shows increased interest in Jim	Michael’s office carpet is mysteriously tainted by an abhorrent smell – a practical joke by one of Dunder-Mifflin’s employees	Jim gets caught in the middle of a Kelly and Ryan, pre-adolescent game of “does he like me, does she like me” puppy-love escapade

 

The Carpet: Main Character Sketches

Most readers may know The Office characters.  For those who don’t – and those who would benefit from a short summary – some brief character sketches are provided below.  These should be helpful in understanding the script samples.

Michael Scott (the main character) is involved in the A and B-plots.  He’s the Regional Manager of the office with an obsessive desire to be hip, liked, respected, and in control.  These characteristics are all masks – based on a deeply-rooted lack of self-confidence and low self-esteem.  These fatal flaws are heightened by the presence of the documentary cameras—as his constant awareness of their presence exacerbates his desire to prove that he’s the greatest manager that ever lived.  And since he is, everyone in the office is happy and everything is always okay in the office.  This episode reveals his worries, exaggerated perceptions, embarrassments, and pretensions.  Viewer sympathy and empathy for Michael and, occasionally, the show’s other characters, ranges from a sorrowful “what an idiot” kind of pity, to a more regular care and concern for the poor schmuck. 

Jim Halpert is involved in the A and C-plot.  He’s a smart and talented underachiever who spends most of his time (in the A-plot) worrying about Pam Beesly (the office’s receptionist) – who he loves and is “dying inside for” because she’s engaged to someone else.  He’s also known for playing pranks on Dwight and Michael, and mugging to the camera when others do dumb things.  He’s one of the most normal and sympathetic characters—but his kindness gets the best of him in the C-plot when he gets trapped in the middle of a budding office love affair.  

Pam Beesly is involved in the A-plot.  She is the shy, sweet, kind, girl-next-door receptionist turned salesperson who’s good looking but doesn’t flaunt it.  She maintains a long love-interest sub-plot for years via a three year engagement with warehouse worker, Ray Anderson.  She does her best to help Michael do the right thing, and let Jim know that even though she’s engaged, she’s still interested in him.  In a later episode, she does finally break up with Ray, then dates and marries Jim. 

Kelly Kapoor is an adult sales rep with an adolescent mind.  She’s known for long-winded, one-sided conversations about boys, dating, celebrity gossip, and other trivial matters, and can’t wait to get married and have babies.  This is one of her breakout episodes in The Office (and for her acting career) -- revealing her teenage puppy-love approach to relationship development.  

Ryan Howard is the young temp employee in the office (up to this point in the series).  He’s very uncomfortable with Michael’s quirky management behaviors (i.e. his mysterious stares, meaningless impromptu meetings, etc.), and is generally unenthused and dissatisfied with his job.  He decides to explore a casual relationship with chatty Kelly, but little does he know what he’s getting himself in to.

Todd Packer is a rude travelling sales representative that worked with Michael when he first started at Dunder-Mifflin.  He often makes appearances at the office to offend Michael’s fellow workers with obscene and disrespectful jokes.  But, this time, he decides to make the joke on Michael. 

The Carpet:Writing Talking Head Scenes

This first scene is related to the A-plot Jim and Pam relationship.  In this scene, Pam has been away from work for two weeks on a vacation trip with her fiance, Roy.  Meanwhile, co-worker Jim is pining for Pam’s return and gets caught in a daydream as he stares in the direction of where the love of his life usually sits. 

Figure 6.1

Talking Head Set Up

• It’s set up by JIM’S behavior in scene one – staring in RYAN’S direction. Also, note how the talking head scene description is underlined so that it is easily identifiable and easier for the crew to find.

Talking Head Effect & Why Funny:

• This sequence introduces the A-plot.
• Increased sympathy/empathy for JIM…the guy who’s in love with someone he can’t have 
• Mystery and anticipation: what will JIM do if she gets married?  What might JIM do to thwart this marriage?
• Why funny: the exaggeration and incongruity of JIM staring at a guy, JIM – he normally wouldn’t do that. Also, he repeats “nice” twice (incongruous for JIM); after saying “fall,” he adds “September”; and  his uncharacteristic “that’s that” and his insecure “I guess” betrays his feelings for her  

The next talking head scene is about the A-plot.  Here we see Michael’s cluelessness and Pam’s humorous response to Michael’s comments.

Figure 6.2

 

Talking Head Set Up:

• PAM’S talking head is set up by MICHAEL’S usual-insensitive hyper-sexual comments and questions to PAM.

Talking Head Effect & Why Funny:

• Propels the A-plot forward—providing PAM’S perspective
• Humor comes from MICHAEL’S comments putting PAM in the spotlight leading to an explanation from her—giving her a chance to tell a little about her trip to the “documentary” audience
• Why funny: MICHAEL’S semi-shocking and exaggeratedly-unfiltered words.  Also, PAM’S overly-honest reply…with the last line sounding like a veiled response to MICHAEL’S sexually-harrassing questions.  

This next script section includes a scenic description that triggers two talking head scenes related to the B-plot. 

Figure 6.3

Talking Heads Set Up:

• JIM’S and RYAN’S TALKING HEADS are set up by JIM’s noticing ROY and DARRYL carrying MICHAEL’S bookcase out of MICHAEL’S stinking office and the camera’s push in on JIM’S FACE.

Talking Head Effect & Why Funny:

• Simultaneously propels the B-plot forward by revealing JIM’S and RYAN’S attitude about the incident and creates mystery and anticipation about JIM and RYAN telling the truth and extending the “who done it?” question.
• Why funny: the camera zoom in on JIM’S face suggests JIM might be the culprit.  His comment-response is funny because of the incongruity of his “slightly amused” parenthetical doesn’t match his direct and serious words.  His words also imply that the interviewer was assuming that JIM is behind the stinky smell in MICHAEL’S office.  RYAN’S response is funny for the same reason – his laughter is incongruous with his serious words.  

The next scene involves the C-plot.  Prior to this scene, Jim is cornered by Kelly to find out if Ryan likes her.  Jim bumps into Ryan in the office kitchen and strikes up a conversation—leading into a Ryan talking head scene.

Figure 6.4

Talking Head Set Up:

• JIM’S and RYAN’S conversation about Ryan’s prospective interest in Kelly sets up Ryan’s humorous talking head scene.

Talking Head Effect & Why Funny:

• Propels the C-plot forward by showing JIM following through on KELLY’S request to ask RYAN if he likes her.  
• Why funny: the set-up is funny—based on the incongruity of two adult men talking like pre-teens. Also, RYAN’S talking head is funny – based on the misunderstanding technique.  RYAN assumes that the camera operator and interviewer think that Kelly (who is really an average to below-average looking woman) is really good looking.  His two “right” Right?” lines suggest that the crew is not responding to his question – suggesting that they don’t agree with RYAN.  Also, this is supported by JIM -- based on his non-response to RYAN’S question about what he thought about KELLY -- and others on the show and even the viewers.  RYAN’S second “right?” is what makes RYAN’S perception a misunderstanding.

The A and C-plots are left open-ended in this episode.  However, this last example climaxes the B-plot and includes a classic Michael talking head.  Up to this point, Michael has suspected those in the office or even the cleaning lady as the culprit for stinking up his office.  Then, he gets a call from a long-time colleague, Todd Packer.

Figure 6.5

       

 

Talking Head Set Up

• MICHAEL’S phone conversation with TODD reveals the truth to MICHAEL

Talking Head Effect & Why Funny

• It climaxes and resolves the A-plot story
• Humor is based on ongoing incongruity of MICHAEL being an insecure, self-seeking child in a man’s body -- and his words betraying the fact that he had no idea about where the stink came from.  Also, his condescending remarks about how others in the office wouldn’t understand TODD’S humor also contributes to this incongruity.

The Champaign Reflection on The Big Bang Theory Wiki online at: http://bigbangtheory.wikia.com/wiki/The_Champagne_Reflection

Rainn Wilson Quotes online at: http://www.brainyquote.com/quotes/authors/r/rainn_wilson.html

See “The Office (2005” online at: http://www.imdb.com/title/tt0386676/

See Greg Daniels online at: http://www.imdb.com/name/nm0199948/

See “Awards for The Office, 2005,” online at: http://www.imdb.com/title/tt0386676/awards

Videos and Links

 The Office “Carpet” episode

The 8 Characters of Comedy…a website that describes eight (8) stereotypical characters that appear in sit-coms (and other comedic programs), and includes examples of these characters in a bunch of television shows.

Friskies Dear Kitten YouTube channel—includes humorous short videos featuring an older cat teaching a kitten how to understand, survive, and thrive in the strange world of human beings.  The videos include the psychiatrist-like voice of the older cat imparting sophisticated perceptions about human behavior as they observe and interact with human beings.  The humor is based on the incongruity of the older cat having the powers of human observation and insight – but from a cat’s perspective.

Redneck Avengers (bad lip reading)

Bad Lip Reading (politics, movies, etc.)

BEA Narrative Films:

Mama’s Boy (2013) 

Length: 18:48
Genre: period drama  
Theme: pride goes before a fall
Award: 1st place, BEA Narrative
Premise/idea: what if a young, cocky, angry black kid was recruited to play for a college baseball team back in the 1940’s?  
Description: this is a story about a black baseball player with a chip on his shoulder in the 1940’s who is attempting to make it to the big leagues.  For a student film, this one has a great (“adult”) story premise—with adult characters/actors, racial issues, etc., rather than just college student-actors playing college-student lives.  Also, engaging characters, good story arc, good dialogue, and a compelling theme—with an interesting twist at the end.
Link: https://bea.app.box.com/s/amzz8g06wnb9xchsjbs2

One Last Kill (2013)

Length: 11:54
Genre: drama-suspense  
Theme: he who takes up the sword will die by the sword
Award: 2nd place (tie), BEA Narrative
Premise/idea: what if a hit-man put a deadline on his last murder?  
Description: this film has an engaging story premise, characters, and creative narrative approach carried by a believable and strong Rod Serling-like (like Twilight Zone) VO narration.  It has a diary/ instructor feel to it and is not too “on the nose.”  This heightens the level of fear/anticipation throughout the film.  Plus, there’s a surprising and satisfying plot twist at the end that makes this a great little film.
Link: https://bea.app.box.com/s/s60ikjdgvjtchkajw4lf

Expiration Date (2013) 

Length: 12:35             
Genre: dark comedy              
Theme: impulsive actions can be a blessing, and a curse
Award: 2nd place (tie), BEA Narrative
Premise/idea: what if a mortician decided to take a dead-person to a party?
Description: this is a quirky story about a socially-challenged and friendless mortician who finds a way to attend the big party across the street.  While at the party, a miraculous thing happens that spoils his party and ultimately invites a lawsuit….but also makes him very attractive to one particular woman.  It includes good, believable dialogue and a good story structure with a surprise ending.
Link: https://bea.app.box.com/s/wgpamynd3pinh2u9u3cr

The Red Box (2013)

Length: 9:06               
Genre:  romantic comedy      
Theme: transparency and being yourself pays big dividends
Award: Honorable Mention, BEA Narrative
Premise/idea: what if a girl-clueless guy was given an ultimatum by his girlfriend that the relationship just wasn’t going to work?  
Description: a college-aged video-game-addicted male finds himself in a predicament: his girlfriend decides that their relationship is “not going to work.”  The kid comes up with what appears (on the surface) to be the answer to his problem…but in the end, he comes to discover that what he thought was the big fix for the relationship was, in fact, meaningless.  This is a cute romantic comedy with a great story and dialogue--with a surprise ending revealing a hopeful theme. And, you’ll love the low-budget opening title sequence they envisioned for this little gem—where art matches story content.
Link: https://bea.app.box.com/s/vzf7vezmgxk0tntw11ui

She Sang, She Directed (2009) 

Length: 26:43
Genre: musical-comedy  
Theme: strong convictions win in the end
Awards: Best Comedy, BEST FEST America (2009), Official Selection at Secret City Film Festival (2009), and the 2010 Golden Ace Award at the Las Vegas International Film Festival
Premise/idea: what if a young, talented, and aspiring playwright-director was forced by the show producers to change her script?  
Description: this is the story of a young playwright battling two meddling producers who want to turn her masterpiece play into a goofy-vampire story with unbelievably-corny dialogue.  Her battles with arrogant actors, pot-head riggers, and her heavy handed producers culminate in a conflict that gets resolved through the altruism of donors.  This film has a good, basic storyline with characteristic dialogue and some funny moments.  The music and relevant lyrics are very difficult to pull off by professionals…much less than college filmmakers.    
Link: https://vimeo.com/12495197

Repeat After Me (2011)

Length: 19:00
Genre: comedy  
Theme: accepting negative circumstances can work out for the better
Awards: “Best San Diego Film,” San Diego Film Festival; Official Selection, Fallbrook Film Festival and Laugh Track Comedy Festival; winner, Best Picture, Reality Bytes Film Festival
Premise/idea: what if two guys suddenly find themselves uncontrollably trapped into channeling each other and speaking the same words?  
Description: this is the story of two unsuspecting twenty-something roommates who invade each other’s brains (and speech) through a strange meteorological event.  The two “brain-twins” have hijacked each other’s tongue—leading to a bunch of funny moments and lines, with every word a potential disaster…but life ends up working out better for both of them in the end.
Link:  http://vimeo.com/23949675

327: The Cave (2008)  

Length: 6:34
Genre: experimental  
Theme: life may not be as it seems OR human reality can be illusory OR pleasure-seeking is empty (it all depends on how you interpret this film)
Awards:  1st Place, Experimental, BestFest Film Festival; Honorable Mention, Columbus International Film & Video Festival, and Chicago International Film & Video Festival
Premise/idea: what if a work-job-obsessed guy found himself trapped in a hallway and tormented by visions?  
Description: experimental film is a genre unlike all of the others.  Although its purpose is to elicit emotions—it does not utilize the conventional story form presented in this book.  It uses surreal or dream-like imagery, settings, and objects through special visual and sound effects to elicit an emotion/feeling from the audience.  This particular film is based on Plato’s “Allegory of the Cave,” and features a young white-collar male trapped in a hallway and confronted to think about life in a different way.  This memorable film includes a startling vision and imagery with a killer soundtrack.
Link: https://vimeo.com/95116759

Do You Wanna Go to Starbucks (2014) 

Length: 2:14               
Genre: music video (w/light comedy story)
Posted on YouTube in April, 2014…over 5-million hits (as of 8/26/18)
Premise/idea: what if a young, caffeine-craving, final-exam-studying college-aged girl got the itch to go to a Starbucks?  
Description: this is a mini-musical parody of the film Frozen’s “Do You Wanna Build a Snowman.”  A young college girl wants to take a break from studying for exams and go to Starbucks.  After a series of turn downs, a guy takes her up on the offer—with a sad twist at the end.  This is a well-timed YouTube-posted theme—based on its content: a video at the end of school year just before or during final exams week that pitches the elixir of choice for college students (coffee) at the premiere coffee shop on the planet (Starbucks).  Its success is also due to utilizing a recent, hot movie-musical soundtrack to tell the story, and capturing the attention of dozens of newspapers and national television networks.
Link: https://www.youtube.com/watch?v=6SDIc6bGw9w

 

Short Films w/No Diction

Here are a few short student films produced with no diction/words/dialogue/monologue/ narration—so the script consisted of only scenic descriptions. This is a great exercise in envisioning story content w/o diction.  The script must convey the characters and story only through character behavior and action.

Promenade 
Length:  6:43 
Genre: drama-romance          
Theme: forgiveness and reconciliation; honesty is always the best policy OR make the best of life’s circumstance
Award: Best Intro-Level Film Project, 2010 (Point Loma Nazarene University Film & TV Festival)
Link: https://vimeo.com/channels/pointtv/31625204
Premise/idea: what if a young kid’s car breaks down on the way to picking up his prom date?  
Description:  this is the story of a young high school student’s car breaking down on the way to pick up his date for the prom.  Meanwhile, the girl melts and gives up…but he finds a way to get to her – leading to an “aww, isn’t that nice” moment at the end.  This was an intro-level film production course project.
Link: http://vimeo.com/channels/pointtv/52581493#/channels/pointtv/31625204

The Cycle   
Length: 5:31
Genre: horror 
Theme: running from your fears can have disastrous consequences
Awards:  Best Intro-Level Film Project, 2012 (Point Loma Nazarene University)
Premise/idea: what if a guy runs over a bike rider that suddenly disappears?  
Description:  this is the story of a young man who runs over a girl on a bicycle that suddenly disappears into thin air—only to re-appear on the street…then suddenly appear at his car window…then right next to him in the passenger seat—driving him to go crazy with fear, exit his car, start running down the street and…   well, you need to screen this film and see the ending.  
Link: https://www.youtube.com/watch?v=6OLnbOLQyKc

The Best Day of Your Life
Length: 3:06   
Genre: drama/dark comedy   
Theme:  impulsive behavior can lead to regret
Award: Official Selection, San Diego Shorts Film Festival
Premise/idea: what if a young girl gets a text message from her fiancé suggesting that he’s “backing out?”  
Description:  this is the story of a young girl about to get married.  She gets a text-message that puts her into a bitter rage, leading to a major temper tantrum followed by…  See the film and check out the surprise ending!  “Oops!”
Link: https://vimeo.com/channels/pointtv/52580992

The Lot
Length:  2:22              
Genre: comedy          
Theme: careless obsession can entrap you
Premise/idea: how would an obsessive-compulsive girl park her car in a parking lot?  
Description:  this film is a slice-of-life film about a young girl’s obsession to park her car in just the right way and place.
Link: https://vimeo.com/channels/pointtv/52581493

 

VIDEOS

Humorous

Axe Effect
https://www.youtube.com/results?search_query=axe+effect+commercial

Allstate Mayhem Commercials
https://www.youtube.com/results?search_query=ALLSTATE+MAYHEM+commercial

Testimonial

Nikon Ashton Kutcher & Others 
http://www.youtube.com/watch?v=tz_K78Yd9uI

Lebron James
http://www.youtube.com/watch?v=z9gMWFzhx4w

Elton John (and many other celebrities) endorsing Diet Coke http://www.youtube.com/watch?v=dgdYbHvXuVA;

Plain folks

T-Mobile: Family Allowances
https://www.youtube.com/watch?v=GKvXyN_t7UA

Others
https://www.youtube.com/results?search_query=plain+folks+propaganda+commercials

Name Calling

“Dishonest” – Obama for America TV Ad  
https://www.youtube.com/watch?v=juox7NO14KM

Romney: He’s the Problem
https://www.youtube.com/watch?v=Ud3mMj0AZZk

Glittering generalities

LS 460 Commercial
http://www.youtube.com/watch?v=Mn-Tkz6zkMc

Obama campaign
https://www.youtube.com/watch?v=9pj7xsWszOs

Card Stacking 

Cereal commercial
https://www.youtube.com/watch?v=KTkfZMsCyHY

Prescription Drug commercial (w/actress testimonial)
https://www.youtube.com/watch?v=MpTPvRrMzdM&list=PLQZTk4BbrTExLq1Lmdj1HqEOZRxv0zbN2&index=22

An Inconvenient Sequel: Truth to Power
https://www.youtube.com/watch?v=huX1bmfdkyA

Music

Top 10 Budweiser Super Bowl commercials
https://www.youtube.com/watch?v=vSNaXc8KR1g

MasterCard Priceless commercials https://www.youtube.com/watch?v=1cNDSPutas8&list=PL7DF5EB5148CC31FE

Storyline Commercials:

Apple-Macintosh 1984 Commercial. 
http://www.youtube.com/watch?v=OYecfV3ubP8. 

Source of Apple-Macintosh storyboard
http://andvertisinginc.com/2013/01/12/apples-1984-super-bowl-spot-the-backstory/

Don’t text while driving PSA’s
https://www.youtube.com/watch?v=rClJW9gnchc

Tide to Go
http://www.youtube.com/watch?v=_Bp54a07UFg

Problem-Solution approach:

Tide to Go
http://www.youtube.com/watch?v=_Bp54a07UFg. 

Dentist commercial
https://www.youtube.com/watch?v=S3mOGKmZc2k

Analogy Approach

Delta Airlines commercial
http://www.youtube.com/watch?v=UC6acGUnqXM&feature=related

Chicago’s Pizza Commercial #2:
http://www.youtube.com/watch?v=nAXTIatj4d8.

Honda Commercial
http://www.ispot.tv/ad/7oap/honda-really-big-spring-event-metaphors

“As See on TV Gadget Commercials” https://www.youtube.com/watch?v=o1mwtVtt_bA&list=PLaXUybE459shtvSqsoMcRzstzxFeI-zaz

Demonstration approach:

Exercise equipment infomercials: https://www.youtube.com/results?search_query=exercise+equipment+infomercials

Billy Mays Commercials

Fantasy Approach

Sprint Flashlight Animation
http://www.youtube.com/watch?v=lW_9SYaWAQg.

Video game commercials: https://www.youtube.com/watch?v=VeyskiiWRdI&list=PL72E47B9D077DBB43

Slice-of-life

Don’t Text and Drive PSA
https://www.youtube.com/watch?v=Dp9DOXlNe3o

Glee (TV show) Distracted Driving PSA: “On My Way”:  https://www.youtube.com/watch?v=mnw_7xI5klM

OMG Distracted Driving PSA
https://www.youtube.com/watch?v=Aka_PPrqkuE

Suspense Approach

Verizon DROID  Stealth commercial and can be seen online at: https://www.youtube.com/watch?v=o9fXYQjwR0w. 

Any video game commercials which are stylized to resemble film trailers:
https://www.youtube.com/watch?v=VeyskiiWRdI&list=PL72E47B9D077DBB43

CLIO Award-Winning Commercials
https://clios.com/awards

Television Show Promos

Dozens of television show promos:
https://www.youtube.com/user/tvpromosdb

Life in Pieces
https://www.youtube.com/results?search_query=life+in+pieces+promos

Man with a Plan
https://www.youtube.com/results?search_query=man+with+a+plan+promos

Believe
https://www.google.com/#q=believe%2C+show+promos

Resurrection
https://www.youtube.com/watch?v=Vo4L8xLvLao

ABC 15 News Emmy Winner Promo – television news show promo
https://www.youtube.com/watch?v=y3UNsIkSJuQ

Hannity
https://www.youtube.com/watch?v=dfwN7SkYB9U

Anderson Cooper 360
https://www.youtube.com/results?search_query=anderson+cooper+promos

48 Hours Mystery
https://www.youtube.com/watch?v=kQphNh3X0lI

Film Trailers/Promos

The Hunger Games
https://www.youtube.com/watch?v=SMGRhAEn6K0

2018 Film Movie Trailers
https://www.youtube.com/results?search_query=film+trailers%2C+2018
Relevant articles & links to clips:

Clio-TV commercials:
https://clios.com/awards/winners

SUMMARY:  ELEMENTS AND PRINCIPLES OF DRAMA IN NEWCASTS & SPORT SHOWS

Character and Conflict

By their very nature, news and sports shows include hosts/anchors/reporters and conflicting characters expressing themselves through narration, VO-SOTs, and sound bites.  Here’s how these conflicts look in news and sports shows:

• Person vs person: battling politicians, criminals versus police/juries/judges, anchors colliding, athletes colliding and trash talking, coach versus coach strategies, etc.
• Person vs. group: business-owner collides with government bureaucracy about expanding a business, or a parent collides with a school district about a controversial policy, or a quarterback collides with the opposition’s defense, etc.
• Person vs. nature: people trapped in drastic weather, fires, natural disasters, and games played in extreme weather conditions which affect the game.
• Group vs. group: businesses battle unions, republicans battle democrats, one team’s defense battles the other team’s offense, etc. 
• Person vs. self: involves an individual’s internal collision of their own values or beliefs -- eg. a politician struggles with legalizing homosexual marriage, or a coach/player struggles with continuing on or ending their career

Diction

• Used to introduce and describe conflict in news and sports stories
• Consist of on and off-camera narration, sound bites, banter, and interviews.  As a writer, your job is to identify the conflicts, then find ways to reveal them through words, action, behaviors, etc., to the viewer.
  

Spectacle/Setting

• News sets include images of the local city’s skyline
• Stories are set in place and time—based on story topic, issue, etc.
• Graphical imagery and text in hard news, sports, and weather are inserted throughout  news casts and sports shows

Melody-Music/Sound FX

• News and sports shows include theme music and sound FX to set the tone of the story or show or to heighten the drama

Theme

News and sports stories convey all kinds of messages:

• The world is a dangerous or safe place
• Dedication and sacrifice leads to victory
• Corruption is rampant
• The toughest team wins
• Good eventually triumphs over evil

Plot-Structure 

Television news and sports shows have a beginning, middle, and end that consist of the following:
The Beginning: Introduction and Tease

• News and sports shows include introductory teases consisting of short, dramatic SOT clips of images or sound bites or video about the main stories with VO narration and a graphic title to entice the viewer to watch 
  

The Middle: Main Stories

• News includes hard news, soft/feature news, weather, and sports
• Sports shows include sports news, feature stories, and interviews
• Pre-commercial teases are used throughout this section of the program

The End: A Unique or Big Story

• News includes a unique soft-news feature story or closing banter, a thanks for watching, and a tease for next news show later that day
• Sports shows include the big story that has been teased throughout the show

Rundown Creator

To see ”Rundown Creator,” a web-based TV/radio rundown software, go to: https://rundowncreator.com/

INTERVEW SHOW THAT PERSUADES
Panel Talk Show: The View

Introduction

The View is a daily (M-F) one-hour panel talk show that covers news topics, current events, guest-expert and celebrity interviews, and interviews with a variety of TV, film, and recording artists.  Since its humble beginning on August 11th, 1997, it has become one of the most phenomenally-successful talk shows in television.  It’s a multi-award-winning program with a unique approach.

First, it has multiple hosts and they’re all female.  Multiple-host shows have appeared before, but none have been as quite as successful as this one.  The reason for this is because the hosts (who have changed over the years) have always been a diverse group—in terms of age and life experience, ethnicity, worldview, and differing political and social perspectives.  

Second, they are all very outspoken, and they are encouraged to share their thoughts and feelings--unscripted and on-the-fly.  It’s like secretly listening in on a girl-talk session revealing things that would, normally, not be revealed.  They confess “…to a lot of things on the show that women are supposed to feel guilty about: forgetting to vote, being too lazy to exercise, hating skinny models, letting the kids watch too much TV, admiring Hollywood's latest hunk. And, apparently, they don't care what people think.”

Third, the differing political and philosophical make-up and worldviews of the hosts invites conflict -- the essence of drama.  The show can be loaded with verbal and non-verbal conflicts – depending upon the topics and issues they are discussing and who the guests are.  This is because differing worldviews set in the context of open-sharing in a talk format, and featuring strongly-outspoken women discussing a variety of political and social issues, is sure to  invite sharp conflicts and, occasionally, extremely heated discussions.  Sometimes the heat is between guests and hosts, and sometimes it’s host-to-host.  For instance, moderator Rosie O’Donnell’s and panelist Elizabeth Hasselback’s disagreements over a variety of topics eventually ended with Rosie leaving the show.  Rosie returned, but then left again over another controversy.

The one truly unifying and stabilizing force in the show is the legendary news reporter, anchor, interview show host, and creator and producer of The View, Barbara Walters.  Her calm and gracious presence often provides a moderating voice of reason and peace to the show--along with a respect and star power that enhances the show’s credibility and popularity.   This is the essence, theme, and key to the show’s success: a culturally diverse group of women with different life experiences and worldviews—combining to reveal different “views” about life, and ways to think about today’s controversial events and issues. Thus, the show’s appropriate title: The View.

The View: Setting, Scripting & Interviewing Style

The show feels a lot like Oprah.  It has the same spectacle and energy.  The moderator and panelists walk out onto the set through a fake door-opening on the set to the wild applause and cheering of a supportive audience.  Each carries a white sheet of paper which includes notes about the topics and their own self-scripted notes about some of the things that they want to say and questions that they might want to ask.  The set includes a large, rear projection screen with the show’s logo--which also shows live close-ups of studio subjects in the midst of an interview (eg. Mariah Carey’s puppy she held in her lap), or relevant movie clips, video clips, or other imagery.  Also, table and chairs in the opening show block one is usually followed by comfy soft chairs for all when the main guest subject comes on. 

The show also includes some of the same scripted narration techniques on Oprah, including pre-produced show intro-teases, live moderator intros, scripted guest intros, and tease packages with VO narration.  There are also occasional live, talent-delivered commercials which include the product right on the set.  Scripted and recorded promos directing viewers to the program’s website also appear.  Beyond that, the show is unscripted and improvisational—consisting of panel discussions amongst themselves and with their guests. 

The show block structure also resembles Oprah -- with a vivid graphical opening that introduces and teases the audience—eliciting engagement and anticipation.  This is followed by a live narrated intro by the moderator, then some talk amongst the panelists on a relevant topic, followed by teases, commercials, featured guests and interviews, and a closing with a tease for the next show. 

They tend to use a freeform interview approach -- with them all taking turns to ask questions, interject comments, etc. of the interviewee.  The questions are usually oriented towards the personal — things happening in the guest’s life, personal thoughts and feelings about different topics and issues, etc.  However, discussion can also turn them all towards (and sometimes against) each other — in the presence of or without the presence of a guest.  This elicitation of conflict in the panelists often invites drama – increasing viewer attention, interest, and engagement in the program…a powerful component of this show.

INTERVEW SHOW THAT INFORMS
Dr. Oz

Introduction

Dr. Oz is a daily (M-F), syndicated, one-hour health show that takes the viewer into current and relevant health topics--from addiction to nutrition-diet-weight loss to heart health to stress to women’s health.¹   Dr. Oz started in 2009, is seen around the world in 118 countries, and “has been used as a format to create new original versions of the show in 12 countries.”²   This multi-Emmy award winning, live-audience show is hosted by Mehmet Oz, a world-renowned cardiothoracic surgeon and professor at Columbia University.  It is one of two shows which spun off of the OWS, and is produced by Oprah’s Harpo Productions, Sony Pictures Television and OzWorks. 

The Keys to Oz’s Succcess

Although Dr. Oz is a spin-off of the OWS, Oz’s success can be attributed to a few things beyond being “sprinkled with Oprah’s magic dust.” ³  Mehmet Oz is described as a nurturing, healing, and attentive doctor who is in tune with the main audience’s (women, 18-49) bodies.  Second, he’s described as “handsome, but not too perfect, experienced and intelligent but not cocky about it, affable and approachable.”⁴  Simply put, his largely female audience has fallen in love with him.  They love his genuine personality and how he interacts with his female guests in a touchy-feely (but professional) way.  They also love the contents of his show.  And the writers and multiple doctors-health care advisers to the show consistently do an outstanding job of making this an informative and successful show.  They provide information on a large array of topics that are relevant to the viewers’ interests and needs -- which enhances their lives.

Dr. Oz:  Show Structure & Format

The structure and format for Oz is similar to OWS’s.  It has the standard opening intro package with teases about the show’s contents—conveying the drama, suspense, danger, and how the show “could save your life.”  The opening includes VO narration, pithy and compelling sound bites and relevant imagery.  The camera then takes us to a spectacular shot of Oz in a large, colorful studio with the rapt audience behind as he delivers his opening monologue.  This is followed by a short documentary-like package on the subject-of-the-day—including a combination of images of people, objects, locations relevant to the narration, and high end animated graphics illustrating the topic and reinforcing the narration with textual-graphical information…all to convey the idea that Dr. Oz is going to uncover the truth today.
Much like the OWS and other interview shows, Oz includes regular recurring segments.  These include:

Undercover — consisting of hidden-camera, documentary-like stories revealing problematic or dangerous products or services

A Look-Back — consisting of still pictures (provided by past audience members) and music which showcases the subjects and people involved in a past Oz show

Assistant of the Day — consisting of a surprised selected audience member who’s chosen to be an interviewee with Dr. Oz on a health-topic

In Case You Missed It – consisting of an end of the show segment which includes a short summary of the different segment topics while the credits are shown.  It all adds up to a very informative, tight, and pleasurable viewing experience.

The one hour show includes five show-blocks that feature interviews with guests who have personal experience or special knowledge of the topic.  Oz’s interview questions are standard five W’s and H related, and are supported by textual graphics to reinforce the main points that are made in the interviews.  He will, occasionally, look to the audience and pose a closed-ended question to get them involved in the show and get their reactions.  He’ll insert additional information about the subject via monologue and documentary-like full-page graphics reinforcing what he’s saying, and then use that information as a basis for other questions.  Commercials include tease-promos for tomorrow’s show, and push/pull promos to the show’s social media platforms (Facebook, Twitter, etc.).

Dr. Oz: Show Spectacle

Oz has won multiple Emmy awards in the “talk show-informational category” for several reasons that are related to the spectacle-setting of the show.  He combines plain folk and guest-expert interviews who share their experiences and knowledge.  Then, in the midst of his interviews, he’ll take a plain-folks guest by the hand (if a woman) and walk them over to another part of the stage to continue the interview and presentation.  Sometimes the space will include larger-than-life objects, props, and graphical objects and pictures-- where he’ll use an object lesson to explain and illustrate his points.  Or the space might include another guest expert who gets interviewed and explains (with objects and props) to clarify the content.  
The objects include specially-created, larger-than-life props with textual notes on them to define what they represent—if metaphorical. Or, Oz might use a large, multi-screen wall with animated graphics that vividly-illustrate the concepts that he’s trying to convey.  Occasionally, he’ll bring in a pre-recorded video of a guest providing explanations and demonstrations.  He’ll close each section with a conversation with the guest and suggestions about what to do or not do.  The show is like a practical university medical science course session on visual steroids—translating complex medical/health information into easily-understandable content that enhances the viewers’ lives. 

Much like the OWS and other interview shows, Oz includes regular recurring segments.  These include:

Undercover — consisting of hidden-camera, documentary-like stories revealing problematic or dangerous products or services

A Look-Back — consisting of still pictures (provided by past audience members) and music which showcases the subjects and people involved in a past Oz show

Assistant of the Day — consisting of a surprised selected audience member who’s chosen to be an interviewee with Dr. Oz on a health-topic

In Case You Missed It – consisting of an end of the show segment which includes a short summary of the different segment topics while the credits are shown.  It all adds up to a very informative, tight, and pleasurable viewing experience.

The one hour show includes five show-blocks that feature interviews with guests who have personal experience or special knowledge of the topic.  Oz’s interview questions are standard five W’s and H related, and are supported by textual graphics to reinforce the main points that are made in the interviews.  He will, occasionally, look to the audience and pose a closed-ended question to get them involved in the show and get their reactions.  He’ll insert additional information about the subject via monologue and documentary-like full-page graphics reinforcing what he’s saying, and then use that information as a basis for other questions.  Commercials include tease-promos for tomorrow’s show, and push/pull promos to the show’s social media platforms (Facebook, Twitter, etc.).

Dr. Oz: Show Spectacle

Oz has won multiple Emmy awards in the “talk show-informational category” for several reasons that are related to the spectacle-setting of the show.  He combines plain folk and guest-expert interviews who share their experiences and knowledge.  Then, in the midst of his interviews, he’ll take a plain-folks guest by the hand (if a woman) and walk them over to another part of the stage to continue the interview and presentation.  Sometimes the space will include larger-than-life objects, props, and graphical objects and pictures-- where he’ll use an object lesson to explain and illustrate his points.  Or the space might include another guest expert who gets interviewed and explains (with objects and props) to clarify the content.  

The objects include specially-created, larger-than-life props with textual notes on them to define what they represent—if metaphorical. Or, Oz might use a large, multi-screen wall with animated graphics that vividly-illustrate the concepts that he’s trying to convey.  Occasionally, he’ll bring in a pre-recorded video of a guest providing explanations and demonstrations.  He’ll close each section with a conversation with the guest and suggestions about what to do or not do.  The show is like a practical university medical science course session on visual steroids—translating complex medical/health information into easily-understandable content that enhances the viewers’ lives. 

LINKS

You’ve explored the different types and approaches of interview shows, and seen examples of outstanding visions and writing.  Now it’s time to take this knowledge and write an interview script of your own.  This next section will break down and reveal the process of thinking and writing your first interview show script.

“Pitching Variety & Talk Formats for TV Today,” The TV Writer’s VaultTM Bringing Your Show Ideas to Broadcast,

 

Talk Show Sub Genres online

 

”Pitching Variety & Talk Formats for TV Today,”

 

Great article for how to get a job as late night show writer: “What It’s Like to Write for a Late-Night Talk Show,” Elise Czajowski, Splitsider, October 16, 2013,

 

Also, other links embedded in the article

Article on advice for submitting late night tv packet to get a job

Getting jobs in media

Top 10 interview shows

Scripting UnScripted Television

CNN Transcripts

Interview Show Clips and Full Episodes
News Interview

Face the Nation

Meet the Press

News Commentary

Hannity

Tucker Carlson

Hardball w/Chris Matthews

The Rachel Maddow Show

Real Time with Bill Maher

Symposium

Crossfire

The McLaughlin Group (and here)

Morning Shows

The Today Show 

Good Morning America

CBS This Morning

CBS Sunday Morning

The View

Daytime Shows

The Ellen Show

Video clips of the show’s games

All about The Ellen Show

Maury- here and here

Jerry Springer – here and here

The Oprah Winfrey Show

OWS Case Study Videos:

*Watch the clips before/during/after) you read this case study 

The OWS Show Intro and the Fort Hood sergeants’ interview   

Sections of the Charla Nash interview portion of this program can be found online

Additional interview clips from other episodes of OWS can be found online here.

Lifestyle/Self-Help Shows

The Rachael Ray Show
(just select video and click on one of the recipes) 

Dr. Oz – here and here

Dr. Phil

Nighttime Interview Shows

Inside the Actor’s Studio – here and here

Charlie Rose Show

Documentary Modes for Speaker’s Corner Documentary

Expository Approach: Speaker’s Corner Documentary

An expository approach to a documentary on Speaker’s Corner might involve the following:

• If the purpose is to understand the past and present of the corner, you need to show the history of the Corner.  This could include going back to its 19th century beginnings to the present day, with still photos of historical personages which started it, those who visited and spoke in the past, along with present-day video of those that participate at the corner on a weekly basis.
  
• If the purpose is to understand the main groups speaking at the Corner, you need to focus on those groups, including who they are, along with what and why they are saying what they are saying.  This could include interviews with the speakers, getting b-roll and sound of their speeches, their interactions with questioners and hecklers, and perhaps even some interviews with onlookers.   

Objective: 

As a result of seeing this documentary, the viewer will be convinced that Speaker’s Corner is a worthwhile, living laboratory for identifying and critiquing public speaking, and will be motivated to take their students to the Corner to study and learn more about the techniques of successful speech and debate.

 

Synopsis:

Speaker’s Corner is a place of freedom of expression, where speakers and audience-visitors from all over the world come together to debate many important topics and issues.  This documentary will reveal how one university faculty speech and debate coach and their student-team discovered that Speaker’s Corner is a real-world laboratory of debate technique in action, where students can learn to identify both strong and weak debate techniques, and practice these techniques on others. The documentary will include a VO narrator, the speakers, and the voices of the participants observing and identifying strong and weak debate techniques from several speakers. 

The concepts in the statement of the objective are reflected in the synopsis.  Also, the persuasive intent is clear in both the objective (“…viewer will be convinced that taking…is a worthwhile activity”), and in the synopsis (“…a real-world laboratory…” and “…can learn to identify…and practice…”).  The synopsis includes the value of identifying strong and weak techniques, and the value of practicing and testing these techniques in a public place where persuasion is routinely practiced.  The synopsis also reflects an expository documentary approach by featuring voices of knowledge -- including a VO narrator, and a successful and award-winning university speech and debate coach and team who experience the world of the Corner.  

Documentary Modes for Speaker’s Corner Documentary

Observational Approach: Speaker’s Corner Documentary

An observational approach to a documentary on Speaker’s Corner might involve the following:

• If the purpose is to reveal the life of a speaker or regular heckler at the corner, you could meet, get to know, and gain their trust to reveal who they are and why they do what they do.  This would include not only recording them speaking and/or interacting at the corner, but also following them around in their daily life where they live, work, and play.  It could include recording interactions with their family members, friends, and others-- as they are--without any pretext or staging of interviews or anything else that could alter reality.
  
• If the purpose is to reveal a visitor-observer’s experience at the corner, you could show them in their life activities before, during, and after the event.  This could include recording them a day(s) prior to the visit, showing them doing what they do in their daily life and, hopefully, revealing their beliefs and values.  Then, you could get shots of them en route to the corner, and following them throughout their visit, showing them and watching, interacting, talking, whatever they do, then following them afterwards to show their life and record any interactions with others that reveal the impact or non-impact of their experience. 

Objective: 

As a result of seeing this documentary, the viewer will understand the hecklers at Speaker’s Corner, including their day-to-day lives, their reasons and motives for being a heckler, and their approach and strategy for heckling speakers at the Corner.

Synopsis:

Speaker’s Corner is a place of freedom of expression, with visitors and speakers from all over the world who gather each week to speak and listen.  But there’s one particular group of regular visitors at the Corner who like to challenge, inhibit, and/or stifle this freedom of expression.  These are called “hecklers.” Often loud and, occasionally, quite offensive and disruptive, many wonder who these people are and why do they do what they do?  This documentary will explore the life of three hecklers through observing their lives for a week prior to a regular Sunday visit to the Corner.  The documentary will reveal who they are, including their lifestyle and interactions with others, their values, beliefs, and life’s work.  This documentary will provide a behind-the-scenes look at a unique group, and will include images and sounds of each of them involved in a Sunday afternoon of heckling.  The documentary will conclude with their perceptions of how the afternoon went, along with thoughts and feelings of the speakers and the visitor-participants about the hecklers.

The concepts of understanding the lives and motivations of the hecklers in the objective are included in the synopsis.  The informative objective and documentary approach-style is reflected through the action of exploring through observation and revealing who they are, their values and beliefs, and their motives for this fairly regular activity in their lives.  The documentary producer-writer-shooter observing and following them around for a few days will reveal their daily life interactions, and the documentary will conclude by documenting an afternoon of heckling at the Corner. 

Documentary Modes for Speaker’s Corner Documentary

Reflexive Approach: Speaker’s Corner Documentary

A reflexive approach to a documentary on Speaker’s Corner might involve the following:

• A documentary about a documentarian’s encounter with messages at the Corner that contradicts their values and beliefs.  This should include revelation of the documentarian’s perspective and bias—perhaps including some past history about themselves (e.g. their religious-conservative midwestern values and differences colliding with secular liberalism, etc.—or the opposite), along with some perspective on how they already feel about the Corner, the speakers’ messages, the visitors, and what happens there.  The documentary would show and acknowledge several things: the process of selecting shots and sound bites, and  the subjectivity of where to point the camera, who to record and why; what and why they decided to include what they included in the editing process and the finished program; what their experience and what the documentary means, what they learned from it, how, etc.
  
• A documentary about what some consider the craziness of the place and event.  This would also include some revelation of the documentarian’s perspective (e.g. growing up in a quiet and orderly home with no arguing, shouting, etc.), along with revelation of other visitors to the corner.  The documentary could review how views-perceptions of the Corner can be negatively-skewed—simply because of personal preferences for order and quiet in public settings.  An honest documentarian could show that he/she thinks that “everybody is loud and crazy at Speaker’s Corner” just because of the way that the documentarian was raised.  They see the loud, boisterous, and rigorous intellectual debate and consider it all to be mean and argumentative, and they “just don’t do that.” 

Objective:

As a result of viewing this documentary, the viewer will understand the subjective nature of documentary.  This includes an exploration of the documentary subject selection, planning, writing, and the production and editing process.  

Synopsis:

Speaker’s Corner is a place of freedom of expression, where speakers and audience-visitors from all over the world come together to debate and hear about many important topics and issues. It’s also a place of controlled chaos, loudness, rudeness, and offense--where people’s treasured values and beliefs are supported, but also challenged and insulted.  This documentary will follow four university students who are studying film and television documentary.  Their challenge is to reveal their unique perceptions and perspectives on the same three (3) speakers at Speaker’s Corner.  This will include their pre-production research of the Corner, an explanation of who they are—including their life and interests, and their impressions of the place and event, and the speakers which they are observing and recording.  The documentary will explore their unique voice and journey as they observe, listen to, and reflect on what the speakers say and do.  The documentary will reveal their perceptions, thoughts, questions, interactions, and conclusions about themselves and the three intriguing speakers.  We’ll see the unique images, sounds, interactions, and reflections from each student documentarian, revealing what they thought was important to show and why.  Each will show their images, their sounds, and their experiences at the Corner, in the U.K., and back home—revealing how portrayals of reality are subject to the documentarian’s background, bias, interests, perceptions, and other factors. 

The documentary’s focus on the subjectivity of reflexive documentary is evident in the objective statement and the synopsis.  Also, the reflexive approach to documentary filmmaking will be displayed in three ways.  First, it will be revealed through the unique perceptions and interpretations of the three documentarians about the speakers.  Second, it will be revealed through the unique and consciously-subjective story-framing, writing, and production decisions made by each documentarian.  And third, it will be revealed through the unique journey and conclusions that each documentarian has about the three speakers. 

Documentary Modes for Speaker’s Corner Documentary

Participatory Approach: Speaker’s Corner Documentary

A participatory approach to a documentary on Speaker’s Corner might involve the following:

• A documentarian befriends one (or more) hecklers, wins their trust, then spends time with them in their Corner life and their life away from the Corner.  They record everything that they do – all as a part of seeking to understand the lives of hecklers away from the Corner and their lives at the Corner.   They record as much of this as possible to use as content for the documentary.  Then, based on what they learn about heckling through observation and getting to know the hecklers, they begin to participate as a fellow-heckler, and share their thoughts and feelings about what it’s like to be a heckler.

Objective:

As a result of viewing this documentary, the viewer will understand what it’s like to be a heckler at Speaker’s Corner.

Synopsis:

Speaker’s Corner attracts a wide variety of speakers, including Christian and Muslim speakers and onlookers.  Both sets of speakers tend to be strongly evangelistic, as do their onlookers and followers.  They are present to not only listen and support them, but also to engage others in evangelistic conversation about their chosen faith.  One group of visitors to the Corner which often get strong reactions from these speakers and their onlookers-followers are the hecklers.  Hecklers are either ignored, derided, laughed at, or (occasionally) intimidated and attacked (especially verbally) by the speakers and onlookers.  This documentary will explore the world of the heckler. This exploration will be carried out by the documentarian following, observing, and studying a heckler(s).  The documentary will include shots of the documentarian observing and interacting with the heckler(s) in their Corner life and their non-Corner life.  The documentary will also include the documentarian’s thoughts, feelings, and questions throughout this experience --- from conflict and drama to humor.  Then, in the interest of self and viewer awareness and understanding, the documentarian will participate as a heckler at the corner, and will describe what he’s feeling, thinking, and experiencing while being a heckler. 

The objective of “understanding” hecklers is evident in both the objective statement and the synopsis.  The participatory approach in this documentary is reflected through the documentarian observing, learning, preparing, and participating as a heckler at the Corner for one Sunday afternoon. 

LINKS

”[Bill Nichols’] The Six Modes of Documentary”, MediaPrestonCollege, YouTube, November 18, 2011,

Thoth

Expository Documentaries

 60 Minutes

20/20

48 Hours Mystery

To Catch a Predator

The Civil War

Animal Planet

Observational Documentaries

Monterey Pop

Salesman

Paris is Burning

Participatory Documentaries

Living w/Michael Jackson

Capitalism: A Love Story

Fahrenheit 911

Bowling for Columbine

All Stuff Michael Moore: Documentaries, Interviews, etc.

Performative Documentaries

Supersize Me

I Am a Sex Addict

Reflexive Documentaries

Tabloid
Part 1
Trailer

Driving Me Crazy

Man With a Movie Camera

Poetic Documentaries

Rain

Triumph of the Will

Olympia

Sans Soleil

Gravity

12 See “Speaker’s Corner Historical Background” in speakerscorner.net online

Speaker’s Corner Websites

History of Speaker’s Corner

Current Speaker’s Corner

Best of Speaker’s Corner, London—Ask a Physicist:

Video of Diana and “The Terminator”—a couple of long-time speakers 

Speakers Corner, Part 2—a Christian missionary challenges Muslim hecklers about the Quran and treatment of women:

Ruth at Speakers Corner—a visitor

Nation of Islam (West London) Hyde Park Compilation: a pro-black Muslim message 

Muslim-Christian Debate, London—a Christian visitor debates a regular Muslim speaker at the park 

God vs Gays—mix of speakers, visitors, and black birds 

Speakers Corner in Hyde Park---featuring John the Christian evangelist: 

 

WRITER SALARIES 

Script Writer Salaries

Copywriter Salaries

News Anchor Salaries

Schedule of Minimums: Writer’s Guild of America 2017

ADDITIONAL INSTRUCTION RESOURCES

How Much Does a Video Cost?
https://tarproductions.com/how-much-does-video-cost/   

Get in Media: Entertainment Careers, Film and TV
http://getinmedia.com/industry/film-tv

Scriptmag.com: one of the best websites on all things scriptwriting. Includes how-to’s of just about every kind via blogs, video interviews, tutorials, live webinairs…everything but the kitchen sink!

Film Scriptwriting.com: http://www.filmscriptwriting.com/
Another how-to site for all things screenwriting that competes with scriptmag in some ways.

Writersdigest.com: some great articles on screenwriting—including adaptation, structure, the business side of scriptwriting, and interviews with famous screenwriters.

What It’s Like to Write for a Late Night Talk Show 
How to submit a late night TV packet to get a job as a late night writer
Writing Drama and Comedy for Cable and Broadcasting

Michael Hauge’s Story Mastery: words of wisdom from one of the more talented minds on scriptwriting.  http://www.storymastery.com/

Top 10 Ted talks on Story Telling and Film Making
Some outstanding talks from some unbelievably-successful writer-filmmakers: including James Cameron and J.J. Abrams.
https://screencraft.org/2015/10/07/top-10-ted-talks-storytelling-filmmaking-screenwriting/

Screenwriters on Screenwriting 
Dozens of short and long interviews from professional writers and instructors on how to write screenplays. https://www.youtube.com/results?search_query=screenwriters+on+screenwriting

Screen Craft Videos
Short interviews with award-winning, professional screenwriters and producers.  https://www.youtube.com/user/ScreenCrafting/videos

WikiHow.com: a bit overly-simplistic, but generally a good site where you can type in “how to write a TV commercial” – or documentary or sitcom, or whatever script type you’re interested in.  It includes concise instructions and pictures to illustrate the process.
  
Film Skills – How to Write a Script – Story Structure
A short video with links to dozens of others on the subject of screenwriting.  https://www.youtube.com/watch?v=N0yqUmedyOM

George Lucas’ Advice (and many others!)
Short videos of famous filmmakers providing their story and advice on how to succeed.  https://www.youtube.com/watch?v=sCP2SGTIz28

YouTube Creator Academy
A complete how-to site on writing, producing, and posting films and television shows on YouTube  https://www.youtube.com/user/creatoracademy

For more instructional scriptwriting sites…
Google: “How to write _____________” and fill in the blank with a program type (TV commercials, documentaries, etc.), and you’re sure to get dozens to hundreds of sources.

GETTING YOUR FOOT IN THE DOOR

The sites below are loaded with additional information about things to consider and do to get noticed and get that first job in the world of professional scriptwriting.
  
Screenwriting Agents Do Not Have Time to Read Your Script
http://www.filmmakingstuff.com/screenwriting-agents-do-not-have-time-to-read-your-script/

Video University  VideoUniversity.com

InkTip a great site to get access to producers and agents.

Hollywonk.com: will take you to Amazon Studios website where you’ll hear from creators and fans of great movies and TV shows and how Amazon.  Be sure to go to: 
https://studios.amazon.com/ and see how to get your idea/script produced by Amazon Studios!
  
The Nicholl Fellowships
scriptwriting contest that’s a fast-track to scriptwriting success.  
http://www.oscars.org/awards/nicholl/index.html

11 Steps to Becoming a Late Night TV Writer:
http://www.backstage.com/news/11-tips-becoming-late-night-tv-writer-sara-schaefer/
and Submitting to a Late Night Show

 

FILM AND TELEVISION INDUSTRY NEWS

Variety
www.variety.com

The Hollywood Reporter
www.hollywoodreporter.com

Indie Slate
http://www.indieslate.com/

How to get access to screenplays, teleplays, and other scripts 
This is easy: it’s just a matter of Googling “free television and film scripts” or “Oscar contending screenplays”—you’ll find dozens of websites.  Read as many scripts as you can!

SCRIPTWRITING SOFTWARE

Why Screenplay Formats are Formatted the Way They Are Today
 An excellent, entertaining short video about the how’s, why’s, and necessities of proper script formatting.  http://www.youtube.com/watch?v=h5I3Tq9j29c

Free Scriptwriting Software
https://www.scriptreaderpro.com/free-screenwriting-software/

For-purchase Scriptwriting Software
Final Draft 9 is considered the “industry standard” for scriptwriting format software.  It also includes many other production-assist (and friendly) features which expedite production planning, etc.  http://store.finaldraft.com/final-draft-9-edu.html
Writer Duet @: www.writerduet.com

SCRIPTWRITING COMPETITIONS

Broadcast Education Association (BEA)—a great student competition that includes writers from all over the country: https://beaweb.org/festival/student-scriptwriting

“Top 10 Best Screenwriting Contests To Enter: 2018” 
http://goodinaroom.com/blog/screenwriting-contests/

For screenwriting contests by genre, see online at:
http://screencraft.org/screenwriting-contests/
  
Scriptapaloozatv.com: a television script competition!  Includes a variety of categories, great articles, videos, interviews with past-winners, and a lot of other helpful information: http://www.scriptapaloozatv.com/

Why You Should Write a Short Film Screenplay
A great success story from scriptmag.com http://www.scriptmag.com/features/why-you-should-write-a-short-film-screenplay?et_mid=610893&rid=233142590
  

FILM & TELEVISION FESTIVALS

Write, Direct, Repeat
Film Festivals and the Short Film (part one and two): a great primer on why and how to choose the right festival for your film, how to prepare for it, and how to optimize your chances of meeting your goals and succeeding.  http://www.scriptmag.com/features/write-direct-repeat-film-festivals-for-short-films-part-1?et_mid=622284&rid=233142590

Attention Filmmakers Essential Film Festival Tips: probably the most comprehensive, question-answer site concerning all that you wonder or need to know about sending your film to film festivals. http://www.indiewire.com/article/attention-filmmakers-essential-film-festival-tips-20150325

No Fee Film Festivals
a list and links to festivals that don’t charge you for your submission!
http://filmfestivalsecrets.com/extras/no-fee/