Since the other recent Nightcrawler thread mysteriously disappeared. I'm re-posting my thread from last year.
I’ve talked shop with several screenwriters who've told me the Nightcrawler is one of their favorite screenplays. I’ve posted a link below for screenwriting forum dwellers to check out the Dan Gilroy script. Read the first five to ten pages and see if you notice what is conspicuously missing from the screenplay. Observe how writer Gilroy does unconventional things that make this an eye catching script and a page-turner for the reader. What say you about the first ten pages of Nightcrawler? Is this something special or are you unimpressed?
PS, Dan Gilroy is a highly established writer with major successes under his belt. Do you think unknown writers breaking established formatting conventions would be allowed the same latitude when submitting queries to industry readers? As I stated in another and now defunct thread, I think before throwing formatting rules out the window, aspiring writers may want to learn them. This includes understanding 3-act structure, writing narrative, avoiding on the nose dialogue, use of inciting incidents, plot points, formatting voice overs, phone calls, narrative, setting up action and proper use of capitalization when formatting sound effects. After that, go crazy. But good storytelling and formatting are two different issues. I don't recommend ignoring one over the other.
http://freepdfhosting.com/ee9b7b77fb.pdf
Much love from The Scribe Who Cares.
It is a great movie, for sure, but falls into the unenviable category of a "tough watch" for me personally. For this very reason, I haven't revisited it since I saw it in its initial theatrical run. Jake Gyllenhaal has probably never been better, but someone in the previous (now deleted) thread pointed out astutely that Jake Gyllenhaal's character doesn't have much of an arc ... and there's no big catharsis awakening for him at the end, where he becomes a better person. Rather on the contrary.
Ok Phillip, now I gotta go find it.
Me neither. Best to just ignore her completely.
However, this remains a compelling topic.
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A great piece of writing.
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With all due respect, this is not about formatting or “rules.” This is a distinct personal style of writing from a writer for a specific film with a specific vision and tone. Enjoy it for what it is. Why this always comes up as some sort of example of ‘what not to do’ is not what’s relevant. All writing tools are available to anyone, no matter who you are. Perhaps speaking about the craft of this film would offer more. For example, what the writing shows is a great sense of tone and pacing. It’s one of the best scripts I’ve ever read. I also do think an unknown writer could use a distinct style. If it works and is done really really well... with confidence.... great story.... etc... causes excitement and interest, then... Why not? Oh, the paradox of the outlier. ;)
What a shame, we finally get a little heat going...and the thread disappears.
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I think screenplays that don't follow industry-required formatting rules are like a breath of fresh air for those of us who have read hundreds of conventionally-formatted screenplays - provided, of course, that the story is a great one, from a content standpoint.
Most of us - maybe even all of us - who do submit scripts to producers, agents, managers, and contests usually have to submit stories that are more conventionally formatted, and that adhere to industry standards - not that following industry standards discombobulates people like me, but evidently it does to some.
But I've always loved the Nightcrawler script, and I'm sure I would have loved it even if it was more conventionally formatted, simply because it's a great story. It's a pretty conventional story path, actually, and doesn't break down the doors or create any new elements of drama. I think the critical acclaim that it received had more to do with the captivating story, and it's relevance, theme and message (and also its style, camera work, tone/mood and dialogues), and probably nothing to do with the "unconventional formatting." I doubt many - if any - of the film critics who reviewed it even read the screenplay.
Regarding the earlier Nightcrawler forum topic....it's historically proven that the person who started that topic deletes her topics 100% of the time. You might want to think twice before spending any precious time in replying to her future posts. Her profile isn't the best example of someone who is here for constructive reasons either. And the dude who made the "Stockholm Syndrome" comment about "all us writers" ...man, that was pretty nasty, all things considered - and irrational and inaccurate, too. The comment was a pretty big POS comment, and I would have expected better from that poster. And I said all of that nicely. But man...that was a nasty one.
Best fortunes to you in your creative endeavors, Phillip!
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I agree in that you DON'T need to choose one over the other. You can have a GREAT STORY and still format your screenplay the conventional way. It also does NOT enhance your story to NOT format your screenplay conventionally. I also agree with all of the above and as Dan MaxXx pointed out, you'd better have one heck of an opening line, if you wish to play at the highest levels. And, yes, Bill C, I agree with you about the comment - and poster - in question. But, for now, that's got to be it. ;) ;) Good Night ... GOD BLESS and STAY FRESH! ;)
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This is my first time reading, and I took your suggestion to read the first 10 pages. I was on page 15 before I stopped to check where I was. I know it goes against convention, but that's a tight screenplay. I can see someone new getting away with this one because the story and writing are so damn good, but as Beth said, I don't think it really matters what's missing. It serves the story well given the frantic nature of the occupation.
Would I try that as a newcomer? No. But it really does feel like sluglines would slow it down. I'm looking at ways to fix my own use of sluglines because they make some of my stories feel boxed in, not as free, and this is a good inspiration.
Referring to the deleted thread, I totally understand where you're coming from. I'd definitely not use this as an example in a beginning screenwriting class because it would give students the wrong impression, and new students really love to break rules they don't yet understand. But again, I do think a competent writer with a great story could get away with this as a relative newcomer. It just has to serve the story.