[Quick Summary: Buddy (9) lives near with his Ma, Pa, brother, near Granny and Pop, during the turmoils of Belfast, 1969.]
PROGRAMMING NOTE: Here we are, once again, at the beginning of the dreaded Oscar nominated script reading season!
I know they're smart, well written, educational...and as much
fun as going to the dentist. I know they're good for me, but often not fun reads. Onward and upward!
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Q: Why is screenwriting more about the cake (structure), and less about the frosting (dialogue)?
A: Structure, i.e., the sequencing of visuals and story, gives scenes meaning. It allows the dialogue to shine, and often be the most memorable part.
Q: But what about all-dialogue scene? Aren't the spoken words king there?
A: If you look closely, there's an invisible structure, on which the spoken words hang. Otherwise, the scene has no deeper meaning.
For example, let's look at the structure of the all-dialogue scene below:
- What is the scene's purpose?
1) Show Pop is worried about his son Pa, whose job will take the family far away.
2) Show Pa is worried about his dad Pop, whose health is declining.
- Notice how the dialogue hangs from the underlying structure. Together they convey "I love you, I care about you."
EXT. ALLEYWAY/GRANNY'S HOUSE DAY
...
PA: Aye. A big one, a long one, they're askin' some of the boys to move over, permanent, offerin' accommodation, cos of the time involved. A coupl'a years. They're buildin' a hospital. [Pa announces a potential move for his job. A conflict for the family who want to stay.]
GRANNY: Yer Father has to go to the hospital. You talk to him about it. He won't talk to me about doctors. [Granny points out the health issue.]
PA: Is that right?
POP: Just a couple o' days. A wee test. For the lungs. All that bloody time over in Leicester. [Pop deflects and distracts from health.]
BUDDY: Where's that?
POP: In England.
BUDDY: Is that near where my Daddy works?
POP: No, your Daddy works near London, the big smoke. This was in the countryside.
BUDDY: What were you doin?
POP: I was a coal miner.
BUDDY: You've done a lotta different jobs, Pop. [Points out Pop moved for the job.]
PA: You can say that again. [Irony b/c he is also moving for the job, like his dad did.]
GRANNY: An' none lasted more than a week! Except for the mining. [Granny brings back discussion to Pop's health.]
BUDDY and GRANNY go through the back door into Granny's house.
PA speaks more quietly now.
PA: My Mother's worried about you. [Points out fears for Pop's health.]
POP: Yer Mo'r's worried about you. [Points out fears for Pa's moving.]
WHAT I'VE LEARNED: It's not just spoken dialogue, but what the structure underlying it is trying to accomplish.
Belfast (2021)(shooting draft, August 2020)
by Kenneth Branagh
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