Filmmaking / Directing : "Directing" on the page? by Liron Vardi

as for me I'm a writer and I believe in deal's.it depends on your passion and visions for your script and how quality it is.what you asked is very possible.

There are subtle ways to communicate those things without “directing the Director.” For instance, I use all caps to draw attention.

eg., HER EYES go wide.

Mostly, these are notes to myself, as I always write from a directing POV, but I don’t see any reason to not do it. No one has called me out for it.

It depends really on the vision that the writer has for the script --- if you're writing something pretty specific and you know how it needs to look then those things are fine, even necessary. But, they will most likely clash with actors or directors. I feel you just gotta be prepared for that and be open to taking stuff away or standing by what you wrote.

People like Wes Anderson, Yorgos Lanthimos, or Quentin Tarantino are pretty specific with their writing/vision, which is probably why they became directors.

As a writer having a vision is fine. However, 'Keyboard Directing' is the bane of many scripts. It's bloat and indicative of describing a movie instead of telling a story. As a director, it's all tossed. As a writer, it's avoided.

Another aspect not mentioned is parentheticalitis — too many parens. There are scripts with a parenthetical before every line. An actor under direction will know how to spin the lines.

If you know you’ll be directing the film you’re writing then it’s fine. If you’re planning to sell it to someone or to a company then avoid it like the plague.

Someone on here had a good point about using subtlety to direct visuals. Such as, HER EYES widen. I think that’s a perfect solution. Generally, you want to write as if it’s a novel.

It completely takes me out of the story when writers put descriptions such as, the camera dollies from the window sill to the bed. If you have to describe how something’s to be revealed you can always use, we move from the window sill to the bed. Still feels like it takes you out of it a bit though, as you’re recognizing this is a collective movie watching experience and not something that’s actually taking place

All directions are expunged before they go to talent or creative team, unless they are integral to the plot or story development (which they practically never are). That's my M.O. and that of most every director I know and work with.

Personally, unless I'm the one who wrote it as reminders for myself for the shot list, I am not a fan of it. If you want to include all of that, YOU direct it. For the one's and two's of specific scenes in order to make the point known that this is how the writer envisioned it, it's ok, but generally speaking, once the writer is through with the script, the vision now belongs to the Director. Let them Direct.

That’s only reserved to the “Shooting script”. As a screenwriter, our job is to tell the story, make it compelling and assure the formatting is dead on.

Novice screenwriter replying, but I only included Director’s notes where crucial to the story. I trust the expertise of the Director and focus on the storyline.

Not a pro by any means, but filmmaking is a collaborative effort. As an aspiring screenwriter, I write. If I wanted to be the director, I'd be an aspiring director.

I am just gonna stay in my lane and remember to use my turn signals.

Just know this, you’re script will be on the floor with the rest of the passes if it’s got a “shotlist” within its pages.

Join the coverage report to save yourself the heartache of wondering why you’re not hearing back from anyone if you’re not listening to the most basic of rules.

Writers don’t direct on the page!

Just a helpful tip from a semi-established screenwriter..

When I was learning screenwriting so many years ago, I was taught the difference between directing your visuals versus trying to direct the scene.

Example: Her tiny feet leaving footprints on the muddy ground. VS. Close up: Mud - Girls running feet.

The first one gets the director on your side during the initial read. It gives him room to film his vision as he pictures it in his head. The second gets your script scoffed at and tossed aside, or worse, into the circular filing cabinet. You are the screenwriter not the director. Like a good neighbor, stay in your lane.

Wow! Didn't expect this much heat! Clearly it struck a chord. I'm actually glad to see there's such a strong consensus about not directing on the page (which is exactly how I work too), so it's nice to know I'm not alone in that. Also loved some of the creative ideas shared here - those out-of-the-box ways writers can imply direction without overstepping. That's the kind of craft talk I came here for.

Here's to writers and directors everywhere ! Guess the best partnerships start with a shared vision and maybe a beer or two, huh?

Absolutely direct on the page. Think and communicate cinematically. What we see and hear is what makes it cinema.

Just do it with subtly. Indicate shots without calling out camera angles. “The keys sit on the table” indicates an insert shot, preferable to “Close up on the keys.”

Don’t be afraid of the occasional “close on” or “we see.” But keep them to a minimum so they’re not annoying.

I want my script to drive the director's creative process, so, I'm writing it as a plain, technically flat story-driven canvas for him to "dress up" or "brush up" with his colorful "directing" palette.

I want to know why the writer wrote a direction and then discuss the purpose. usually it’s not to many direction but if it’s a lot then that could create a problem because as a reader who’s going to direct the film, I don’t want to feel I have to be locked down to that stage direction.

I'm a screenwriter you can try my talent...I believe you will like it

Oh I'm with you there. I am a mostly minimalist because I am terrible at painting pictures with words. Character descriptions really aren't necessary because a good actor and director can read a good script and know immediately what is called for. That includes a good casting director. If you need to add those parenthetical facial expressions or movements--and believe me I'm as guilty of this as I'm sure a lot of would-be minimalists are--that means your dialogue hasn't revealed clearly a relatable story. If the director and actors can't get it without being told, how will the audience?

I'm trying to curb my backseat directing, especially when it comes to acting directions (hence my table reads being very good for helping me let go and let the actors, at least, do their job lol). It probably helps that I'm such a newbie I have no clue about camera angles and whatnot so I wouldn't even know how to mess with those. It's also a relief knowing I don't actually have to input transitions in my script since it's not my call anyway. That being said, there's definitely a case to be made for learning how to direct and I keep flirting with the idea but not actually committing to it yet x)

I try to never do somebody else's job.

Your job as a screenwriter is to paint the picture! It’s not just dialogue, or it would be theater. We need to feel the flow of scenes, and that includes acting, physical action, editing, and movement through the world.

Its so easy to over write those scenes especially when you see the world in 5D. I created a sci-fi screenplay and as beautiful as it is, I had to fight myself to literally go back and let the scene play itself out in real time. You dreamed about this wonderful story. It kept you up at night. You want the Director to follow your lead but it doesnt work like that... Unless you do the James Cameron and have total control over your project..

Well for me, I don't mind it, usually because I'm writing a screenplay that I intend to direct anyway or I'm the director who's writing my own screenplay. So direction usually is a kind of self note of the image that I had in my head when I was writing it.

In the end a shot list will be made and then you try and stick to it as much as you can, but sometimes you have to deviate anyway and in the end you know the material so much that you don't even need to take a look at the shot list or notes but you just know what needs to be shot.

Yes, the challenge is to indicate cinematically without overwriting. That’s the good writing we strive for.

Because it’s safer not to try doesn’t mean those who write well shouldn’t do it.

If I am directing, I might put some directions in, but even then it artificially raises page count and I wouldn't want to pretend to tie the hands of the talent. There are very rare times when certain directions and settings are integral to the story or presentation - such as in our film Eartha Kitt C'est Si Bon. But that is a choreopoem, not a standard film, and it requires specific directions to achieve the poetic format within film. Apart from that, I cannot see much use for directions. They are usually distracting and can easily be perceived as amateur (because they attempt to translate the script to screen and that's not what a writer is good at). Someone said it's about painting a picture and while I don't disagree, I will say that if the dialog and basic action is good, you don't need directions of any kind. If the dialog and basic action are not engaging enough on their own, then the other stuff is fluff because by definition, they don't add anything to the story.

Its part good writing and part understanding your role in an industry set up by guidelines and rules. I created a dystopia in the future where hybrid aliens and humans coexist. In my eyes, The world is one of the characters of the movie but I had to quickly realize that that is not.how it works. And film directors can be brutally honest about that fact so you better have thick skin...

good