But the thought isn’t coming out of nowhere. Here the script is actually giving us a thought: Miles realizes he’s blown it. Miles realizes he’s blown it and silently berates himself. Look at this bit from Sideways, right after Miles bungles a romantic moment:Īfter a few seconds, Maya breaks away and steps past him, heading back into the living room. Truth is, you can cheat a little with thoughts. We know what McClane is thinking because we see three quarter-size holes inches from his face and we see that sweat covers his face. It’s real clear what McClane is thinking here: “Holy shit! That was close!” Or maybe he’s thinking, “Holy shit! A bullet almost went through my brain!” Regardless, whatever he’s thinking most likely starts with “Holy shit!” and has something to do with not being dead.
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Sweat covers his face, drips silently onto the aluminum. Three quarter-size holes inches from his face. McClane remains motionless in the air duct. This bit from Die Hard comes right after McClane narrowly escapes a barrage of machine gun fire: Let’s look at some better examples of how screenwriters manage to convey thoughts while staying within screenplay boundaries. Okay, it’s still not great screenwriting but at least it’s not violating the see-hear rule. Tim rushes to the stove and turns off the flame.Īnd then the conversation turns to that fateful day at the bacon factory. So you’ll probably have to do something like this: You could show Tim’s horrified reaction then dissolve into a flashback of the fire at the bacon factory, but, as you’ll learn later in this book, flashbacks aren’t usually a good idea. If that tragic fire is important information, you’ll have to find another way to convey it. It won’t show up on film so you shouldn’t include it in a screenplay. Tim reacts in horror, remembering how his father was tragically killed in a horrible fire at a bacon factory. Indeed, that’s one of the charms of reading fiction, the ability to dive into the minds of the characters and see what’s going on there.
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What about thought? When you’re writing prose, you’re free to include the thoughts of the characters. There, we managed to convey smell, touch, and taste through sight and sound, and without too much trouble at that. He chews, closing his eyes with pleasure. Then he picks up a fork, stabs a slab of bacon, lifts it up, takes a bite. He sticks his finger in his mouth to ease the burning. Tim leans toward the pan and inhales, eagerly. So if you want to convey these senses, you could do it like so:īacon sizzles in a frying pan. However, you can see and hear a character’s reaction to these stimuli. What about the other senses? Smell, taste, touch? You don’t include those in a screenplay because you can’t see smell. But we get it all from what is seen and heard.
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We get a very strong sense of the prison-the mood, the routine, the relationship between Andy and Red, the magic of the Rita Hayworth poster.
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Read over those lines carefully and you’ll see that there is nothing there that is not visual or aural. Sunlight casts a harsh barred shadow across her lovely face. – and sees Rita in her new place of honor on Andy's wall.
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As the men shuffle down to breakfast, Red glances into Andy's cell – Look at this passage from The Shawshank Redemption: Since your screenplay is supposed to replicate the experience of a movie, it follows that your script should only convey what is seen and heard. Everything springs from those two sensations-sight and sound. When we experience a movie, the only kind of information we absorb is what we see and what we hear. Screenplay Description: Only Sight and Sound