Screenwriting : Do You Read Screenplays While Watching Films? by Bill Costantini

I haven't, I have read lots of scripts and that has certainly helped me, but with living in a country where I am speaking and consuming content in a second language or at least not the native language quite often lots of TV and moves comes subtitled anyway, so, the subs plus reading a script would be a bit much for me. I imagine I would not really watch the script as it developed and as is in the film and become so focused on the written words, which I guess isn't the point of the exercise. Plus when I am writing, I find sometimes watching others movies or series doesn't help me, it kind of blocks my own voice.

Perhaps I will try it though, would you recommend it? Do you watch it all the way through and read as you go, with no stops or do you stop and go over particular parts again and again, or a combo of both?

Interesting topic Bill, looking forward to other perspectives.

Hmm, never done it. Read a script before/after, yes, but not during. Do you read the shooting script or the original?

For some reason I feel like the marriage between script and film is too private for me... i think it would take away from both O.o

Yes Bill, I do often read scripts as I'm watching the film - but not often enough. It's taught me to write tight, very tight...to the point that I have a very staccato style that allows for the creativity of the entire cast & crew.

Nope, the script belongs to the writer. The finished movie is a collaboration. I turn on closed caption/Subtitles when I want to read along

I have a hard time finding a script that matches the movie. Then I get lost. Even "FYC" scripts don't seem to match the released movie that often. But I have tried.

I usually try to read to see what they cut out and make a hunch as to why. But that's just me.

EDIT

The Blues Brothers I script seems to match the movie pretty closely. I think it's a good exercise to read that script and watch the movie at the same time. It's phenomenal to see how Dan Aykroyd authored a script that is, just, well, vanilla, and made one of the most exciting moves ever made... 300 car crashes, machine guns, RPGs, comedy, suspense, disaster, racism, jazz, swing, food, impeccable timing, timelessness....

I know there are more, but that just seems to pop out.

Natalie: It certainly is a different type of experience. I take it scene-by-scene, and some scenes I'll watch more than once. It's not like watching a film for entertainment - it's more like watching a film while reading the script for a better type of learning process. I haven't been in L.A. for awhile, but if I recall correctly, some of the schools do it the same way. That's how I picked up the habit - from a student a while back, and a guy who ran a film school (Gary Shusett RIP).

Lukas: I read whatever I have available, bro. I do print out the copies, though. I don't do this that much...just with films that I know are great studies and are similar to what I write.

For me at least, it's really helped me make scenes much more succinct, and has also reinforced in me the need to make each word count, and to choose the best and strongest verbs. It has definitely helped me grasp the "whole" more, and I think has helped to elevate my writing to another level.

Bill, just personal habit: No adverbs...find a better verb.

Interesting suggestion. I read a ton of scripts but never read one while watching a movie. I think I'd have to keep stopping the movie over and over to catch up with the reading.

Chad: I guess it all depends on to what degree and at what speed someone processes what they are reading, or reading and watching. And I usually have to watch things multiple times to absorb/digest/process what I can learn and gain, because I'm processing multiple matters, like how fast a scene can begin...and end. And how things are so tightly compressed. And how strong the verbiage really is. And how the effectiveness of long periods of no dialogue can be maximized. And how the effects of imagery can be maximized. And how each scene becomes its own mini-masterpiece, and how important that really is.

But it's very helpful to me. Not just from a writing standpoint, but, as you can see from what I stated...from a cinematic standpoint, and how my words on a page can better lift off the page, if that makes any sense.

I'm not a beginner writer who is trying to condense a lot of learning from A-to-Z in a few scripts/films/months - I'm not saying you are - and I don't read a lot of scripts consistently over a long period of time anymore. But I certainly know that I can't really read a script and "learn" from it in the multiple ways that I can like when I am reading the script and watching it at the same time. Doing it this way has optimized how I can "learn" from reading scripts: I have to read them and watch the film at the same time. Like I mentioned earlier, others have done it before and I think it makes a big difference - at least for some, and maybe not for all. But it definitely makes a difference for me.

Also, I think people have to ask themselves, too, "what am I really learning when I read a script at this point in my writing stage?" I mean...what are you really learning that is new learning...from your tenth to your hundredth to your two hundredth? Does reading 20 scripts a month make an intermediate-level writer a better writer than the intermediate-level writer who reads 10 scripts a month? Does "learning" peak at some point from just reading, versus reading and watching?

For me...at some point a while back....just reading a script became more about...being entertained by that writer's story. I wasn't really learning anything new about writing. Or maybe I saw something occasionally new with regards to formatting, like seeing how people format things like texting or using social media. I kinda plateaued a long time ago at that, when it came to actually learning anything new from just reading scripts, if that makes any sense. And I'm not trying to imply that this is the "special sauce every writer needs to use in order to become a better writer" - I'm just conveying the effect that it's having on me.

Sorry for the long reply, and best of luck to you, Chad!

My two cents: Absolutely reading scripts helps one's own writing. Observing different approaches helps one to break away from all the rhetoric and open your mind to possibilities. See screenwriting in working practice, in reality, not just in theory. I suggest reading not-so-great scripts too. Observing bad writing, learning what does and does not work is incredibly helpful. If I have some element I'm not sure how best to construct on the page I'll hunt down examples to help guide me. As far as reading while watching as a form of study... sometimes I read the script prior to viewing, sometimes not. But I prefer to watch the film first without disruption and then dissect it the second time through. Or watch with subtitles turned on. And/or make note of changes from script to screen. Another writing exercise is to watch a film completely cold and then jot down major turns as you watch, basically suss out its structure in real time. Anyway, great discussion! Thanks for posting Bill! :)

Only once or twice, and I don't think the whole way through the movie. I did it mostly to see how things translate from paper to screen. What changed. Think about why it might have changed. Etc.

In retrospect, I actually was transfixed by two movies and scripts. Star Wars and The Blues Brothers.

The scripts had almost NO BEARING on what I was watching. If I read those two scripts before seeing the movies I would think they were nothing special.

...And then you watch the movie and become literally awestruck at how directors and producers can have a vision for seeming very vanilla words on paper and simply take you to another dimension.

But in the case of the Blues Brothers, I think Dan Aykroyd had the vision while he was writing it - so it might not count as much. BUT... I recommend reading the Blues Brothers script and then watching the move... Even if you don't like it, it's an amazing lesson in just what the "transformation" can be between script and film.

Beth: great insights about your processes and preferences. If you're interested in reading some bad-writing scripts....I think my first eight or nine scripts might make you really happy.

Chris: thanks for your insights.

Kevin: On the first inside page of The Blues Brothers shooting script, there is a warning that reads: "This script is being distributed on an eyes only basis. Readers of this script are to be limited to those directly connected with the production. All scripts are numbered and individually assigned. You will be personally responsible for the confidentially of this screenplay. Violators will be killed."

The last paragraph of action reads: "The movie is now over. Everyone will immediately leave the theater and tell their family and friends about the marvelous picture they just saw. Eighty percent of the audience will see it at least twice."

I so love The Blues Brothers!

Fuck no, that's a nonsense. I heard that many times, mostly from some amateurs. If I remember well, one of them is Tantarino or some shit like that... The other one is Sorin, both latinos I think. Also, some bold and blond wannabe director named Rob Homard said he use some stupid screenwriting books to make his structure and story better. Nevermind, unproduced fellas. Stick to the pros. Peace, YO

I hardly watch movies the second time but whenever I do, I usually read their screenplay and then watch the movie but never simultaneously but it does sound like something I should be doing.

Mostly what I do is watch the movie and then read the screenplay and if a scene reads differently to what I remember, I try to watch that specific scene to match both mediums. At other times, as Beth said above, when writing my own scenes and I feel a bit stuck, I try to get inspired by reading specific scenes that might relate to my situation but not quite so close that it registers way too deeply to impression my scene, even if it is at a more subconscious level.

I don't generally do that. But when I see a film with great visual elements, I will try to download the script to see what the writing looks like. A few years back, I watched The Great Waldo Pepper, which had such incredible visual sequences with early 20th century aircraft and a particularly harrowing wing walking sequence that lasted several minutes. William Goldman's narrative writing was really superlative and reads almost like a great novel. Wonderful work and something to aspire to. I couldn't find the script online, so I bought a book of five WG screenplays, including the Waldo Pepper script, which was definitely worth the money.

Good thread topic my friend.

I think it's a great idea Bill. I think it can be akin to reading song lyrics while listening to song. By reading the script, you absorb every morsel of what's happening and get a deeper understanding of the whys and hows.

No, but I get the idea.

Mister Bill, I find it far too distracting to have the television going. I live in a small flat and prefer listening to classical music such as Mahler and Schumann. Helps me focus more.

Bill Costantini No apology necessary. I think it's pretty interesting and your longer reply intrigues me even more to give it a try if I can find the time.

Worlds' worst multi-tasker here, so never.

What I found most helpful to me as I was learning how to write scripts was to listen to the director/producer's commentary as I watched a film. That practice gave me insight to the challenges filmmakers face. One particular hint that has stuck with me came from Nora Ephron as she shared that Tom Hanks taught her how to button a scene. What that means is that there is an ending action for the scene. I make sure that every single scene I write has that final action--I never end a scene with dialogue. The final action signals to the viewers that "we're done here--let's move on."

One other thing that I think every screenwriter should do is to take an acting class. I attended several improv/film acting seminars and actually was taped as I acted with a partner. The instructor directed us as we practiced and then were filmed. It was excellent in helping me understand the director's and actor's points of view.

Bill C:

Waldo Pepper is definitely underrated. Even Bill Goldman thinks so.

Chad: thanks for the kind words. I love when people say I intrigue them. Look into my eyes on my profile pic, Chad...you are getting sleepy....very sleepy....the deed to your house, Chad....sign...sign over....sign over....to me....(just kidding)

Eric: I'm the world's best multi-tasker. Can anyone else hate, love, admire, resent, respect, abhor, praise and backstab someone at the same time as well as I do? I think not, Eric...I think not.

Patricia: Those are great insights from a great former school teacher who has touched the lives of many more people than I will ever touch. May the heavens continue to bless our school teachers, and it's great to see you posting again, here, Ms. Zell!

Phil: I agree. Even though the film grossed a lot more than it cost to make, maybe the barnstorming subject matter just didn't resonate with the masses, critics and Academy voters well enough. I don't know....but I do know that this would be a good moment to give a shout out to some of cinema's most underrated workers - the stunt men and women. SHOUT OUT TO THE STUNT MEN AND WOMEN OF CINEMA! YOU PEOPLE ARE SOME OF THE FINEST PEOPLE THAT HELP MAKE THE MAGIC OF CINEMA, AND MAY THE HEAVENS WRAP YOU IN SAFETY FOR THE REST OF YOUR LIVES!

Bill C

Great observation.

I haven't watched and read together, but I will now. This is a great idea. Thanks, Bill.

I have done that with Chinatown because it was suggested by Syd Field.

Phil: thanks, bro!

Roxanne: You're welcome. As I commented earlier, Gary Shusett, founder of the Sherwood Oaks Experimental College (currently named Sherwood Film School), suggested I do that. Gary was a true champion of screenwriters, and got anyone who was anyone in Hollywood to speak at his seminars or teach in his classes. Agents, writers, actors, directors, producers, execs....Gary got them all. Imagine going to a seminar in the early 1970's, and seeing young filmmakers Brian DePalma, Martin Scorsese, Steven Spielberg and George Lucas talking about film, or attending a comedy class taught by Lucille Ball. Would that have inspired you, or what?

I met him at one of his seminars in the early 2000's. I was new to L.A., was late for the seminar, and he was already introducing David Freeman, who is one of Hollywood's top story people and an exec at Fox. I sat in the back, and when it was all over, I went up to Gary and said, "I never paid for this." He said, "buy me a sandwich?" I said, "sure!" RIP, Gary Shusett.

Peter: that makes sense. Syd Field got his first teaching job at Sherwood Oaks, and formulated his book Screenplay while teaching there in the 1970's. Michael Hague and Robert McKee also started there, if I recall correctly. I don't know who was the actual first teacher to suggest that exercise, or to use it in a class - it's done in major film schools, too - but it sure is a great practice for writers (or at least for some writers).

Good Luck and Happy Writing!

Hey, Peter! Did you work with Syd?

oops, I forgot.... What's good, Bill! I do that sh@@! It's great training. I also watch every movie with captions on. Its a good look at how lean and mean dialogue should be.

Yes! I like to read the script and then see what of the script shows up on screen!

Shawn Speake I am pretty sure it was recommended in his book and that is what Peter is referring to. Do correct me if I'm wrong.

Syd is a must read! Different perspectives come and go, but Syd Field is eternal. "Foundations" is the only book I read every year. Well I read Catch 22 twice, got to the last page, turned to the first page and re-read the book.

Shawn: It's all good, Shawn. I figured you probably did that, too. Note to self: wake up two hours earlier, write more each day, train harder each day....Shawn is doing it, too. Drats.

Cherelynn: Cool!

Syed: You're probably right.

Peter: I love Catch 22, and the film, too!

Good Luck and Happy Writing, All!

It's all good, Bill. I've got haters comin' at me online for trivial shit every day now... They don't have shit to do but f-ck with people.

Shawn: I hear you. I've had folks in my past exhibit patterns of maladaptive behaviors that were reinforced by their misinterpretations of the world around them. I could understand that and graciously cut them some slack.

I graciously beat the shit out of the others.

Shawn:

I support you a hundred percent my friend and look forward to the day we can hang out.

Bill C:

That's a sound policy. You are a supreme gent but I wouldn't want to piss you off.

I suppose 20 years directing theatre has knocked out of me any sense of the timing of a written phrase being even closely related to the audio outcome! And as has already been said above, a film is an extreme collaboration of hundreds of people while a script is (in most cases) a single-digit affair. But mostly I keep the reading and watching experience separate in order to hone my craft, because I know that brevity and concision is essential to the reader getting past page ten. If I can read a piece and instantly visualise the film from the page, I'm going to learn more about my own writing than if I'm simultaneously watching a director's vision is informing the plot. So in short, I keep those two activities apart.

I seldom watch movies on TV or read screenplays so my answer is no I don't do that.