Writing Dialogue Is Instinctual - Erik Bork
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- Опубліковано 22 жов 2019
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In this Film Courage video interview, Author/Screenwriter Erik Bork on Writing Dialogue Is Instinctual.
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#writing #screenwriting #screenplay - Фільми й анімація
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Writing dialogue has always been instinctual for me because of how much I enjoy observing human behavior. I like going to a coffee shop to write and listening in on people's conversations for very realistic speech patterns, and I've used that to help me write dialogue for characters in my screenplays. Plus, I love dialogue because of how much it reveals about people, especially when it's dialogue that has an underlying message.
Same!
Genuine conversations are impossible to predict how they'll flow. I write to fill in the necessary information but sprinkled with character based responses that dance around their own weaknesses.
@JOSEF BORG This sounds like a great exercise for anyone interested in crafting a visual story without trying so hard. I used to also take random pictures throughout the day to get ideas, and I still do to this day. It sounds like you really enjoyed that process, and it does seem like you got a great experience from it.
Bogart was classic, beautiful subtext. No better. Casablanca especially. Brilliant writing!
I just write what the characters think they should feel to say in the moments...
It certainly was for me. First TV spec I sat down to write was Two and a half men and I could instinctually emulate the voices of the characters. As for your original work, that may take more time. Lots of little lessons to learn, and things that can only come by trial and error. In the end I'd compare it to the bolt of electircity that goes through a circuit once it's properly constructed. If you wind up the scene and the characters with enough tension, and opposing wants and complimentary flaws, the dialogue will just sort of happen
The word is instinctive!
Instinct may have a role in screenwriting, but interweaving with cult jargon is essential. Puzo proved it in his Godfather and so did Stallone with his Rocky.
I think it's really important to find people (real or fictional) who speak with the voice you want your character to have, and expose yourself to as much of that character as you can.
Picking up the right jargon is one part of that.
Great dialogues are structures often they pull up the movies. Despite "all that grandiose" in 10 command's the dialogue just carries you, for eg. "The city he builds shall bear my name, the woman he loves shall bear my children; so it's written, so it shall be done," and the "Greatest" punch dialogue of all, "His God IS God." Casablanca is classic but the problem it has given to the present Screewriters is 'How are we going to write better dialogue, God, leave alone the BEST!' OK Eric, does directors 'influence' writers?
Is writing dialogue instinctual for you?
Yes it is. Once I know the sequence of events, and how they happen, I don't have to think too hard about it
@@Bolten854 waoow. You and me need to talk. I'm always willing to learn from whoever.
Not really. And how you pepper in exposition into dialogue matters too, lest you have exposition-heavy scenes down the road in your script.
@@meg-k-waldren Very true. People will get bored and uninterested if you shove exposition into their face
Yes
Usually these two are good together, interviewer and interviewee. But this time there is definitely a subtext between them that is uncomfortable. I wish them both well next time.
I thought it was fine. She had a few things on her mind that was tangential to the topic, but still related to it.
I think she was looking out for some of the viewers that may not grasp the difference between actors that always get cast in subtext heavy movies (eg. Bogart) vs ones that only get cast for character archetypes (e.g. Sam Jackson).
@@insanejughead Yes, it was a valuable interview, but look at his body language, especially his head tilted down, his dissociated gaze. And her occasional rapid speaking when he seemed like he'd rather be someplace else. Body language and voice are so valuable in reading what's inside the mind. A good actor knows how to use all of them.
@@bluenetmarketing I noticed the head thing, but I took his actions as a way to focus on the question in order to formulate an answer. His manner of speaking stayed strong and gave me no indication that he was uncomfortable. He may have just been thrown off by her concise examples.
It would be interesting to see how you and I would write and direct a scene with a scripted interaction based on just how different we have interpreted their interactions.
@@insanejughead Yes, it would be interesting. I am actually attenuating my comments out of respect for them. There is more there than is contained in my courteous comments so far. Good luck to you.
Agree about Humphrey Bogart as master of subtext. Sorkin uses too much cussing in his dialogues.
Frasier was rife with subtext. I don't think it is instinctive. One must know the character good enough to envision what he will say in the scene (mindset, emotions, backstory, stakes, whatever). The writer may draw upon his own experiences with people of his life to add voice to the character. Once the character is nailed down, it becomes easier to write the scenes (with varying emotions).