Wait for it.
I have given up most of the use of dashes or ellipses within the dialog. Now I just use in action:
Wait for it.
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Is screenwriting an art that seeks the high concept for the lowest denominator?
Why a heart will devote it's will to love another, even when the love is lost. But is it lost?
Two scenes are bought to mind. One is from The Searchers (1956), when Ethan encounters Debbie finally after years of searching. When he holds her and takes in consideration her face, what does he say? It is a very complicated scene, mixing Ethan's lost love for Martha and his devotion to keep faithful to that love, even beyond the judgment he feels in Debbie's circumstances. Devotion's power takes over his anger and hate. The other is of a lesser-known film, but no less beautiful scene of devotion in Enchantment (1948), when Sir Roland Dane drifts into a nap, to be with Lark, a woman he loves decades earlier, and who comes to him to embrace a revelry of years ago. In the end, we have no doubt they are together, simply for the strength of their devotion to one another. Are we too sophisticated now for such narrative in storytelling? I would like to believe we are not. But can I tell it in current themes? That is my challenge. ![]() Watching this movie for study on Bonnie Hunt's sensibilities as a story-teller. I am amazed that the similar ideas Bonnie and I have about the use of sound in a narrative, although with a sound man in my family, I am much more a believer in Post. Attention to details and small gestures, it is a good choice. A romantic comedy, although not necessarily my pacing, but a good story visually told. Only Mr Higgins dies in my script. I wake up, realizing there is something else Darrow can say to his mom on page 92.
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AuthorCharlotte Hardt (128writer) Archives
November 2020
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