CWRI10001 Lecture Notes - Lecture 6: Joni Mitchell, Emma Thompson

• School: University of Melbourne
• Department: Creative Writing
• Course: CWRI10001
• Professor: Pete McCracken

Document Summary

E(cid:374)gages (cid:373)ost i(cid:374) the idea that (cid:862)we are what we do, a(cid:374)d (cid:374)ot what we sa(cid:455)(cid:863) Screen characters are not real, and neither does their dialogue reflect how we speak in real life. Drawing down to the absolute minimum amount of words for maximum dramatic impact. Only when you have the purpose and idea of a scene, does dialogue enter. Ver(cid:374)a(cid:272)ular spee(cid:272)h: dialogue should (cid:373)at(cid:272)h the (cid:272)hara(cid:272)ter(cid:859)s up(cid:271)ri(cid:374)gi(cid:374)g a(cid:374)d (cid:374)ature. Progression: dialogue should have a purpose and move the story forward, having critical significance in furthering the plot as a whole. The actions characters take during conflict must be lifted by dialogue in movement. Giving the audience relevant information a(cid:271)out the (cid:272)hara(cid:272)ter(cid:859)s state of (cid:373)i(cid:374)d, their intentions or possible conflict. Keepi(cid:374)g the audie(cid:374)(cid:272)e atta(cid:272)hed to the stor(cid:455) (cid:271)(cid:455) what has(cid:374)(cid:859)t (cid:271)ee(cid:374) e(cid:454)plai(cid:374)ed (cid:455)et through dialogue. Drama on screen is always about the movement of action. Make sure that the story speaks for itself through its action.