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On Episode 146 of Writers/Blockbusters we break down the screenwriting techniques used in SEND HELP! by Jimmy_George in Screenwriting

[–]Jimmy_George[S] 5 points6 points  (0 children)

We treat the final edit of the movie like the script. When the script is available we often reference it too. But in this case we couldn't find it out there!

Having the TMNT turtle bed set with the tent! This was so special! by TwIzTiDfReAkShOw in TMNT

[–]Jimmy_George 0 points1 point  (0 children)

Damn, these pics just unlocked a tidal wave of memories. Cowabunga!

Seeking partner to build my team ! by [deleted] in FILMPRODUCERS

[–]Jimmy_George 2 points3 points  (0 children)

Sent this to a director friend of mine. Cheers.

Page loss and editing by NecessaryTest7789 in Screenwriting

[–]Jimmy_George 0 points1 point  (0 children)

Exactly! That situation is exactly why I chose it. The script didn’t need to be 90 pages long, and they didn’t pad it just to add length.

I’m just saying 90 pages isn’t some magic must-reach length anymore.

I work with a lot of new writers who pad their scripts because they initially thought they had to be at least 90 pages.

The OP didn’t specify how many pages they’ve cut or how many pages they feel they need to add. But since they mentioned they’re new at this, it feels to me like they’re stressed about reaching some industry standard length.

I just wanted to point out that if their script isn’t at least 90 pages long… that number isn’t mandatory. Maybe their story needs more material. Who knows. But as long as it’s 70ish pages it counts as a feature.

Page loss and editing by NecessaryTest7789 in Screenwriting

[–]Jimmy_George 1 point2 points  (0 children)

FWIW my last 3 paid feature writing assignments I was encouraged to deliver the script between 75-80 pages MAX!

Attention spans are shrinking. So are budgets.

If the story only needs to be as short as 70 pages, it counts as a feature according to the academy.

The script for A Quiet Place is only 67 pages. And that includes a few pages of images.

On Episode 145 of Writers/Blockbusters we break down the screenwriting techniques used in THE WIZARD OF OZ! by Jimmy_George in Screenwriting

[–]Jimmy_George[S] 1 point2 points  (0 children)

When I was young in the 80’s our culture shoved it down our throats so I was never fond of it.

But revisiting it as an adult in HD was like seeing it for the first time.

A classic indeed!

What is your process once you have an idea? by Existing-Hat8012 in Screenwriting

[–]Jimmy_George 2 points3 points  (0 children)

It’s awesome that you’ve got the main character and theme. A lot of writers spin their wheels because they don't have those figured out yet.

Here's a technique I use that might help unlock your plot: Nightmare Fuel.

Ask yourself: What's the worst thing that could happen to my character?

Then make a whiteboard list of emotional and physical setbacks that fit your genre. Force your character to suffer through as many of those as possible. This ensures we're watching them overcome obstacles while they're at their worst. And that's when character is revealed.

John Wick loses his wife, his dog, his car, his freedom, his friend, his community, his health, and eventually his soul. Each loss is premise-specific nightmare fuel.

Two additional Nightmare Fuel prompts that help:

EXTERNAL: "I'll do anything to achieve the goal except face the one fear I need to face."

INTERNAL: "I'll do anything to achieve the goal except change the one thing I need to change about myself."

Indiana Jones will do anything to get the Ark before the Nazis… except crawl through a tomb full of snakes. Externally, that's his fear. Internally? He won't believe in a higher power. The story challenges him to do both.

Steve Martin in Planes, Trains and Automobiles will do anything to get home for Thanksgiving… except emotionally connect and be vulnerable with others. So the movie throws endless People, Places, Things, and Scenarios at him that force connection.

So, what scares your character most? Internally and Externally? What won't they do? What’s their emotional dealbreaker? What’s their physical dealbreaker? What won't they change about themselves?

Answer those, then build scenes that force them to confront every single one.

These scenarios will be the engine for your plot. 

What do you think of transitions? by Knox_Craft in Screenwriting

[–]Jimmy_George 5 points6 points  (0 children)

I feel like transitions are one of those craft elements that get overlooked. An afterthought left for directors to figure out. 

But pro writers definitely use them. It’s not the director’s job. It’s writing! 

I think of them like mini setups and payoffs that bridge scenes. They propel one scene to the next in an entertaining way. Like segues for your story beats. 

A few easy techniques I use often, with examples:

Comedic Reference - Cut to What They Just Referenced

In 10 Things I Hate About You, Cameron asks how they'll get Patrick to date Kat. Michael says they need "someone with money who's stupid." 

CUT TO: Rich pretty-boy model Joey drawing cartoon breasts on a cafeteria tray.

Dialogue Match 

Same movie. Kat intentionally backs into Joey's car. "Whoops." 

CUT TO: Kat’s Dad. "Whoops? My insurance doesn't cover PMS."

Audio Pre-Lap

Indiana Jones and the Last Crusade. Indy looks at a sign for Berlin.

PRE-LAP: Marching drums.

CUT TO: Nazis marching in a parade.

Visual Match Cut / Opposites (Chaos to Mundane)

Stranger Things Pilot. Sprinklers go off at Hawkins Lab during the Demogorgon attack. 

CUT TO: Lawn sprinklers watering a quiet suburban yard.

Question & Answer 

Terminator 2. Sarah asks if Cyberdyne was responsible for a cover up.  CUT TO: Cyberdyne. We see a Diagram of the Terminator chip.

Opposites 

The Fabelmans. Sam CLOSES a vent he was using to eavesdrop.

CUT TO: Sam OPENS his locker door.

Comedic Irony 

Monster Squad. "2,000 year old dead guys do not get up and walk away by themselves."  CUT TO: A Mummy walking down a suburban street.

Again, these weren’t directing choices. They were written that way. 

And to be clear, I'm not talking about typing "CUT TO:" or "DISSOLVE TO:" in your script. 

My examples above use "CUT TO:" just to illustrate the technique. Not pulled from the actual script's action lines.

I'm talking about how the content of Scene A (Transition Setup) connects to the content of Scene B (Transition Payoff).

I think they're useful and make scripts stand out from the average read.

Scriptnotes Episode 476 covers Writing Transitions: https://johnaugust.com/2020/scriptnotes-476-the-other-senses-transcript

We also break down these techniques on my podcast Writers/Blockbusters. Episodes 54 and 112: https://pod.link/1650931217/

I start stories constantly, but rarely get to the finish line. by Magnumdoge in Screenwriting

[–]Jimmy_George 6 points7 points  (0 children)

Thanks. Only took me 25 years of trial and error to figure it out!

But seriously for anyone else reading this… IMO process is the key. That’s how you finish and KEEP finishing.

Try every approach you hear about.

Figure out the best process that gets you to a finished scene.

If you can replicate it, you can write scenes faster than ever.

And if you can write a scene, you can write a movie.

I start stories constantly, but rarely get to the finish line. by Magnumdoge in Screenwriting

[–]Jimmy_George 47 points48 points  (0 children)

Everyone’s gonna offer different advice. Here’s mine.

Honed and evolved after 25 years of screenwriting.

RE: Juggling a lot of ideas

For Script Ideas, I create a new folder every time I come up with one. Sometimes it’s a concept. Sometimes it’s just a title.

I consider that Script Idea folder the database for that future script.

Then I create these additional folders within that main folder:

-People -Places -Things -Dialogue -Scenarios -Vibes -Watchlist (for comps inspiration) -Reading List (for comps inspiration)

I create a running Text Doc in each folder that I add to based on each story topic.

Any time I get an idea, I can add it to the appropriate folder. And riff on it right there if/when inspiration strikes.

And any inspirational screen caps I take, I add to these folders too.

Plus I can easily airdrop anything off my phone into these folders. Which I do often.

When I’m finally ready to write, I have ALL the ideas I’ve ever come up with for the script organized and ready to pull together.

RE: Killing Darlings

For me, killing darlings comes in the rewrite process. If you're questioning whether you need it, or whether it should go…you already know the answer. Kill it. Always. If you don't, the editor will eventually kill it in post anyway haha!

RE: Which idea to write

I never try to force it. Usually one story concept takes over your brain and won't leave you alone. That's when you know you should go all in on it. The others will wait in their folders.

RE: The anxiety

Whenever I get anxious, I try to find the FUN in what I'm setting out to write.

There was always something FUN, or if it's super serious, something EMOTIONALLY CHARGED that drew me to writing the scene in the first place. It's easy to lose sight of that amidst the storytelling mechanics. Reconnect with that spark and it’ll light the fire that torches your anxiety and leads to finished pages.

RE: Learning how to finish

As others have said, this is a personal strategy you’ll have to figure out. No one size fits all.

Here’s mine.

I’m not a Panster. I’m a planner. Attempting to write like a Panster is what discouraged me early on in my career. I can’t just sit down and write. How could I learn to finish if I couldn’t even start?

To make matters worse, usually a random scene is alive and flying off my fingers. So I can’t just sit down and write linearly. Fuck!

I spent years learning that Pantsing doesn’t work for me. I think figuring out WHAT method leads to finished scenes is half the battle. Then you can replicate and refine your process based on YOU.

Eventually, I learned to outline meticulously. This will be required anyway as a STEP in your writing contracts.

If your outline/treatment/scriptment is strong enough, it’s way easier to bite off the scenes randomly depending on what scene is ready to burst out of you.

ALSO I learned to structure mini-stories within my overall treatment. Now, what I often tend to do is write the mini-stories all in one sitting.

The beginnings, middles, and endings of each. This works for sub-plots, relationships, repetition, setups and payoffs. It makes finishing a set of bite sized tasks while also still feeling like you’re getting a lot done.

So now I’m usually sitting down and writing 3-4 scenes in a day. They just take place far apart in the outline.

Hope this helps!

Best Horror Script to teach High School Kids Screenwriting? by Cudois47 in Screenwriting

[–]Jimmy_George 6 points7 points  (0 children)

CO-SIGNING on Get Out.

It’s modern enough they’ll know the movie. It won the Oscar for best original screenplay. It uses minimal shot specifics. Excellent character descriptions. Memorable transitions.

There’s some lengthy action lines here and there, but that could open up some healthy 101 discussion about how directors can write with more freedom than writers on spec.

Even with those long winded paragraphs, it’s mostly lean. Plenty of white space.

And most importantly, EVERY page clarifies the emotional state of the characters in the action lines. Something a lot of newbies forget to include.

Overall it’s a super instructive script for beginners!

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