All language subtitles for 19 - Writing the script I.eng

The folder of our project

is always better to be accompanied
by a script.

Sometimes it's called pilot,
first chapter,

but it's difficult to sell a series

if we still do not write the script
of the first chapter,

or at least if not we walk
through the experience of writing

how our characters speak,
what is the rhythm of each episode

and, in short, how we imagine
that our series will be.

My advice is, as Hemingway said,
that the first version of anything

is crap, so do not trust
in the first draft of your chapter.

Try giving it to your friends to read,
listen to the returns you give them,

reread it
many times.

The best advice I can give you
is that writing

is rewriting all the time.

So we'll talk first
about how to write

the script for our first chapter.

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We arrived at the moment
to write the script.

not the easiest part, really,
but we've already done a job

and we know more or less
what we want to tell.

So I'm going to show you
an appointment that I really like,

that I have very much in mind
when it comes to sitting down to write.

It's from the book called
"Practice of the screenplay",

by Carrière and by Bonitzer. He says that:

"Every dramatic event,
to be fully satisfactory,

must be both unexpected
and inevitable.

Unwrap as best as possible
in this admirable contradiction."

Why do they tell us this?

Because every time we think a turn
or give a twist

to our script
that should be surprising,

should not expect
the viewer.

At the same time it should be
absolutely logical,

should not be an occurrence
of the scriptwriter or screenwriter.

So we have to try
to be very subtle

between the unexpected and the inevitable

every time we think
a new action for our script.

Let's see now
in good, very practical terms

what we should keep in mind
when we really sit down to write

and face
with the blank sheet.

Usually, I work
with this script model.

We call it a literary script.

There are several models of scripts,
there is also a model

quite used for television,
which is with two columns,

in a column the image
and in another column the sound .

But I suppose because I passed
through the film school

and because I was taught
to use this type of format

I became fond of it and it's the one I use.

It's kind of like a standard,
a convention

in the world of television
and the world of cinema

see scripts with this format.

The font that is used
is Courier New, 12

and I use A4 but there are people
who use letter or letter sheet.

It's different because it changes
the number of pages

and you have to take it into account.

And also,
when using an application

you can use the Final Draft,
you can use the Celtx

or you can use any other
word processor,

could Use the Word too.

And lately, for some projects
I use Google Docs.

I open a document and there are plugins
that can be downloaded,

there is one that is called Script Format,
and with that plugin

I already have preset
the tabs I need

to be able to work, and we can also
work collaboratively

with one or a co-writer.

On the other hand, at the time of writing,
we will see very quickly

what elements are present
in the script, some advice

and then we will quickly analyze
against image a couple of pages

of a script of "Petit".

In principle, this part,
INT. SCHOOL - DAY, it's called a header.

By production you have to take into account
which is inside or outside.

Then the location and then the effect,
day, night, sunrise, sunset.

We call that header,
and it has a scene number

that we have to be very attentive
to change it every scene change.

Some applications do
automatically.

Each time the time
or space changes, the scene changes.

We immediately write the action,
and you have to be very careful

because, for example in this case, it says:
"The teacher is next to the board

front of the class. there is
a projection of several animals,

one next to the other, a sheep,
a bear, a fish and a monkey ".

This could be two planes,
a general plane,

where the teacher
next to the board in front of the class,

or a middle plane of the teacher
with a projection background.

It would have been different:
"Petit observes how the teacher,

next to the blackboard, shows
a projection of several animals".

There we would have imagined
a half plane and Petit

and then a map of the teacher.

So, you have to be careful
in what are the images

that we put on the head
to the person who is reading

what we are writing.

In that sense it helped me a lot
study direction.

So, I already when I go
writing the actions

I'm dosing it as if it were
that I'm showing it on planes.

Let's keep in mind that,
let's help our interlocutor

so that he can understand
what planes we imagined

when we were writing and,
on the other hand,

we will be able to convince them because they will see
clearly what our vision is

and they will not imagine things
that we do not want them to imagine.

Immediately after,
when there are dialogues,

is put to the character, the ideal is
always name it in the same way.

If sometimes I put "teacher"
and other "miss" or something else,

that can generate confusion,
not known if it is the same actress or not.

Then we always put "teacher"
and always write the same way

to that character, the same
with the rest of the characters.

There are two conventions.

I use the second, which is that once
in the action is written a character

is written with capital letters.

And the other convention is that every time
a character is written,

is written with capital letters
the first time it appears.

I always write it with capital letters
because it helps me to quickly see

the actions where
characters appear,

which are the characters
that are triggering.

Then we put the lines of dialogue
of each of the characters

and we are indicating,
when there is a parenthesis,

for example here in "mysterious",
a very specific of acting,

we can mark it in parentheses
and in that way,

when the actor or actress
is interpreting,

a first reading can know
what is the intention that we ask

in each of the lines.

More or less, I was taught
that a script is one page per minute.

But now let's see
that is not always that way.

On the other hand, you have to dose a little
the amount of description of actions

because many times in animation
there are actions that are not conventional,

as the character triggers
a propulsion mechanism

and it goes flying and pushes a catapult
of I do not know what works.

Many times we must develop
in the action part of the script,

quite a complex action.

This leads us to have many lines
and many times that is a second,

but we, so that
our interlocutor understands it,

we must put a lot of description.

Sometimes in animation that happens
and that makes it run

and not necessarily
that a page is a minute.

Maybe a page is
absolutely dialogued

and it's a monologue, and that page
is maybe a minute and a half.

But it is more or less important
that we as scriptwriters

know that more or less
the reading time of a page

should be directly proportional
with the time that we imagine

those actions and dialogs
on screen.

Let's see an example of chapter four
of Petit's first season,

which is called
"I'm going to find the missing link",

and we're going to see the screenplay against
to see what we have to take into account.

We have Interior, School, Day.
"The teacher is next to the board,

front of the class." Behind her there is
a projection of several animals,

next to each other , a sheep,
a bear, a fish and a monkey ".

Clearly, one when he is writing,
also writes for who he is going to direct.

In this case, the director and producer
is Bernadette Ojeda,

and she makes thousands of decisions
depending on the script.

It is important to know that the script
is a previous instance.

Dashes
are usually lost.

The important thing is the interpretation
that will be made by the director

or the interpreters of the material
that we did.

Ideally you have to grow
throughout each process.

But in principle here,
respected more or less what I had written.

A teacher next to the board
front of the class.

"Children, to which of these animals
do you think we look the most?"

Petit raises his hand
and finds the matches.

"Gregorio looks like that bear,
Laura the sheep,

Roman looks like the fish".

There I had to explain
that it does not sound so outlandish

because the animals
give an air to the companions,

but the teacher interrupts him.

All that description,
as you can see, is quite longer

than what happens
in the action itself.

"I mean which of these animals
is more similar to the human".

"The monkey!"

The same thing happens here.

Roman returns the joke to Petit.

"The slide changes and we see
the silhouette of a monkey

and the silhouette of a man and a woman".

Here Bernadette made other decisions,
let's see what they were:

"Many years ago,
some monkeys began to change.

evolved in humans
that we are today."

Notice that here I proposed:
"Petit opens her eyes

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in the middle of the teacher's dialogue",
and here not necessarily

the principal made the decision
to take a of Petit surprised,

but he chose directly to include
Petit's question:

"But how did
change so suddenly?

It took them many, many years.

But there is a mystery that science
has not yet been able to discover, Petit. "

We are now on the page.

Notice: "All the boys
pay close attention

to the screen, in the middle,
between the silhouette of the monkey and the human,

is a silhouette of what would appear
be an intermediate between monkey and human.

We see a pretty funny figure
similar to the Yeti ".

Notice that Bernadette added a woman,
perfect what she did,

and on the other hand all this description
that I did is just a slap of sight.

So, maybe that's where
starts to appear.

A very long description of an action,
that is understood at a glance

on a single line.

"What was it like to be half man
and half ape who lived in the caves

and call it the missing link?"

When I put "mysterious"
and say "the missing link",

I do not know what he would have imagined
who read it,

but Bernadette interpreted that.

Instead of zooming in
to the face of the teacher or whatever,

try to put "mysterious"
so that whoever is going to do it

makes his own decisions.

As a filmmaker, I do not like
very nice that a screenwriter

imposes decisions that have
to do with direction.

I prefer to mark some intentions
and not to say:

"A crane goes through the streets", etc.

Maybe they do not have money
to make a crane.

I would prefer to show it in another way.

I try to give freedom to whoever runs
so that I can make the decisions.

"Petit sinks in the seat, the same thing
happens to the others,

all the companions look
at the missing link like a monster".

"Tomorrow bring a picture
of how they imagine

that it would be the
mix between monkey and human".

There, to cut the scene,
ends and there's a space jump,

and there's also an ellipsis.

Time passed and I put "cut to".

That's called transitions,
perfectly could not be,

and, instead of cutting directly,
Bernadette used a plane

that functions as a hinge
between one scene and another,

which is the timbre transition.

And now we're
on the Outside, Patio and Day.

I wrote: "Petit, Gregorio,
Laura and Román seem hypnotized,

tremble side by side,
they talk without looking at each other or blinking

and in a monotonous way
in a state of shock ".

"I think I will not be able to sleep today

Hey, Petit, could
go to your house to sleep today?

Yes, I would like it too.

Yes , friends, of course!
not that we're afraid, right?

No, no!

We're not afraid of ...

missing link! "

Notice that we are already on page 3,
we have a fifteen minute animation.

At this point we should go,
if we pay attention to that rule,

three minutes of animation,
but we go one minute fifteen.

So, it's pretty relative.

On the other hand, it has a certain coherence
because, in general,

Petit's scripts
have about 12 pages

and the Petit
chapters last seven minutes.

Again, notice,
there is another transition.

And in this case I put ...
It's a very short scene

that says: "Exterior, Casa Petit,
Night, it's raining, thunder,

we see the light from the loft in the house
of Petit lit. "

Bernadette decided not to put
the loft light,

but there is a thunder
and it's a very short script scene

that works practically
as a montage.

This scene might not be
and whoever directs could add it or not,

but many times
when we imagine the chapter

's okay to add certain scenes
that give a little relief

or allowing spectators
think about what happened

and create an expectation
about what will happen

and also organize the story,
tells us that we are somewhere else.

It helps us to understand it.

"I do not want to do the drawing.

Me either."

It's very interesting
do this exercise,

one as a screenwriter afterwards is not
checking exactly what

what the director
with what one wrote,

but also one has to be
very aware

that no one publishes the scripts,
they are not a literary piece,

but they are a kind of link
between the whole creative process

that we were watching
and the final visual product.

I think we should not be too fond
with the script.

While you do not have to have problems
and it has to be a firm step

in the process
of audiovisual development,

I think you do not need to cling to it
or defend it with nails and teeth.

We need to allow the department
to make the decisions

that it has to take so that the work
that we think in the script

can be completed
in an audiovisual way .

I think our responsibility
is not to wait for things to resolve

afterwards, and give something that has rhythm,
something that is well described,

something that is very verbose,
that does not have misspellings

and that is really impeccable
so that the next department

that grabs the script,
which in this case is address,

we have to do well
our work so you can grow.

Sometimes, if it grows in another direction,
will ask us to rewrite

or ask us for advice
or our point of view.

But as screenwriters we should be
very responsible

and deliver a final product
that is perfect

but at the same time know
that it is not the final product

but this it will be the audiovisual work.

Let's review then some tips
or some tips that we can see

to be able to write better
our scripts.