Speed dating scenes in movies No pay no registeration just sexy chat
So, when you’ve finished the latest draft of your current screenplay, sit down and look carefully at those first five pages, and imagine that you’re meeting for the first time — as part of a high pressure, ticking clock countdown, onto the next scenario. Or do you want to toss it back in the hope that something better comes along?Karina Wilson is a British writer based in Los Angeles.Even a few years ago, a screenwriter could afford a leisurely introduction, setting up the basics of their story’s Who/What/Why/Where/When over the first ten to fifteen pages.Now, thanks to the exponentially growing number of screenplays on the market, the increasing importance of genre categories (see: Netflix algorithm), and the ever-decreasing attention spans of readers, any hopeful script has to establish its overall identity straight out of the gate – ideally before that fifth page turn. ), genre (Netflix currently has 76,897 ways of categorizing a movie), geographical and temporal setting, themes.If your title evokes a well-known designer perfume (e.g. Equally, if you’ve typed BLOODY AXE KILLER FACE FEAST on the front page of your sensitive Sundance-bait drama because you’ve heard that horror is an easy sell, you’re not doing yourself any favors.
It’s helpful to think of the process of connecting your script with a reader as very much like speed dating.
As a screenwriter and story consultant she tends to specialize in horror movies and romcoms (it's all genre, right?
) but has also made her mark on countless, diverse feature films over the past decade, from indies to the A-list.
The first few pages are bland, establishing merely location (the Manhattan skyline, or Sydney harbor, or the rolling steppe), introducing a few characters with vague purpose, one of whom may or may not be the protagonist, and hinting at the possibility that there might be some kind of situation developing. The genre and overall tone and identity of the movie are energetically established in under a page. Screenwriting and speed-dating are equally harsh worlds, mired in rejection and missed connections.
You know exactly what to expect from the next two hours, who’s driving the story (clue: he’s driving the car in the opening shot), and why we’re going to root for him (that disbelieving look on his face as he slams the trunk shut). In order to stand any chance of success at either, that first impression has to be golden. Does it charm and beguile without putting too much out there?