Script analysis is a tool used by directors in their "adaptation" of the script to the screen, helping them gain knowledge about the characters and subtext, and decide how they are going to visualise the story (Weston, 1996:166). Therefore, to do this effectively it has been argued that a director needs to have a fresh perspective on the story so that they are able to discover what the story is about as they analyse the script (Weston, 1996:166).
Yet, it is possible that a director may also work as the writer on their film (as I have done for this project). Hence, when analysing a script that they have written, a writer-director needs to consider the script in the same way they would if it had been written by another writer, and separate their roles of writer and director (Weston, 1996:166). A writer-director can do this by believing in the independent life of the characters, so that rather than focusing on bringing the characters to life as they had envisioned when writing the script, the writer-director considers the ideas of others on the project as they collaborate, such as the actors (Weston, 1996:166).
To allow myself to gain some separation between my roles of writer and director, once I had finished writing the script, I didn't read it for a couple of weeks until starting work on the script analysis. This meant that when I did read the script for the first read-through stage of script analysis, I had a fresher perspective on the story, and was able to consider my initial responses, which I noted in the margins of the script. I wrote these in pencil so that they could be changed as my ideas for the script progressed.
Yet, it is possible that a director may also work as the writer on their film (as I have done for this project). Hence, when analysing a script that they have written, a writer-director needs to consider the script in the same way they would if it had been written by another writer, and separate their roles of writer and director (Weston, 1996:166). A writer-director can do this by believing in the independent life of the characters, so that rather than focusing on bringing the characters to life as they had envisioned when writing the script, the writer-director considers the ideas of others on the project as they collaborate, such as the actors (Weston, 1996:166).
To allow myself to gain some separation between my roles of writer and director, once I had finished writing the script, I didn't read it for a couple of weeks until starting work on the script analysis. This meant that when I did read the script for the first read-through stage of script analysis, I had a fresher perspective on the story, and was able to consider my initial responses, which I noted in the margins of the script. I wrote these in pencil so that they could be changed as my ideas for the script progressed.
Initial Notes
After reading the script three times to develop these initial pencil notes, I then typed up these notes, omitting any that I wanted to change, and adding any new thoughts each time I re-read the script to gain a further understanding of the characters and story. I decided to break my notes down into four categories: pacing and tone - to help determine where the beats are, which is a later step of script analysis, as well as to develop ideas of how the script could be visualised - character detail - to help reveal the subtext of the script - shot ideas - to record ideas of how the subtext of the script could be visualised - and general notes, for any extra ideas.
Determining the subtext of the script is the purpose of script analysis, since this is what helps the director get to know the characters and story by revealing "a vast subworld of behaviour and feeling which it is the duty and privilege of the director and actors to supply", so that this understanding can be conveyed to the audience (Weston, 1996:163).
It has been said about script analysis that the director is not trying to find the writer's intended meaning but is rather searching for what the script could mean, as the writer will often put meaning into the script subconsciously (Weston, 1996:166). I found that this was the case, as, whilst analysing the script, I realised details about the characters that I hadn't realised whilst I was writing, such as that Monica isolates herself, doesn't fit in at the parties, and is ashamed that she can't write.
As I gained a further understanding of the script, I also discovered that the theme of the story wasn't what I had thought it was. I had intended it to be loneliness, because of how Monica is isolated, with only Vera for company, who she doesn't want to lose. However, since Monica doesn't yearn for company, but isolates herself so she can write, I now think that the theme of the story is love, due to the focus on Monica's love for her writing, which she loses, and then regains.
Character Objectives
Th next step of script analysis is to determine each character's objective for each scene, since this can help the director understand why the character behaves the way they do (Weston, 1996:103). However, these objectives will be driven by the character's overall want, known as their "spine" - this is what the character "wants during the whole script", also known as the "through line" (Weston, 1996:98).
I used my initial notes to determine each of Vera and Monica's spines, as well as their objectives for each scene. However, I found that I came back to this step of the script analysis after later determining the beats of the story and changed some of the objectives as I learned more about the characters and the rhythm of each scene.
I used my initial notes to determine each of Vera and Monica's spines, as well as their objectives for each scene. However, I found that I came back to this step of the script analysis after later determining the beats of the story and changed some of the objectives as I learned more about the characters and the rhythm of each scene.
Spines
Monica's spine- To motivate Vera to stay
Vera's spine- To encourage Monica to finish her books
Individual Objectives Per Scene
Scene 1
Monica - to write
Scene 2
Monica - to impress the other partygoers
Scene 3
Monica - to overcome fear
Scene 4
Monica - to overcome fear
Scene 5
Monica - to overcome fear
Vera - to encourage Monica to finish the book
Scene 6
Monica - to motivate Vera to stay
Vera - to support Monica
Scene 7
Monica - to mourn what she's lost (Vera, her love for writing)
Scene 8
Monica - to get through the party
Vera - to stay with Monica
Beat Analysis
Beat analysis is when the director breaks down each scene into individual beats, marking these on the script (Cullens, 2019). At first, I did this in pencil, later doing this digitally as I worked to refine where I thought the beats were in each scene.
I found it useful to remember that "beats shift when a character’s motivation or routine changes", meaning that "new beat = new energy" (Cullens, 2019). Because of this, beats can be used to determine the "rhythm" of each scene (Cullens, 2019).
For each beat, the character uses a different tactic to reach their objective (Cullens, 2019). Therefore, I also marked these on the script for each beat, using action verbs (verbs which are transitive, as well as involve emotion and an action), so that this could be turned into direction which would be playable for actors (Weston, 1996:30), aiming to phrase these using the verb which could most effectively help the actor convey the subtext. I marked Monica's tactics on the left, and Vera's on the right.
Nevertheless, the beats of a scene are not definite, but may change as the director collaborates with the actors to shape performances (Cullens, 2019). It is for this reason that beats are marked in pencil, since sometimes the director and actors may find that it is necessary to move or erase a beat in order to improve the "energy of the scene" (Cullens, 2019).
Overall, the purpose of the director's script analysis is to allow them to prepare and test ideas which they will be able to explore when collaborating with the actors (Weston, 1996:165). Script analysis - and the ideas this gives the director - evolves and changes during this collaboration, even if the director has finished marking their script. For this reason, the director should stay open-minded and flexible, remembering that the aim of this preparation is to allow them to be in the moment, and prepared, once filming begins (Weston, 1996:165).
I found it useful to remember that "beats shift when a character’s motivation or routine changes", meaning that "new beat = new energy" (Cullens, 2019). Because of this, beats can be used to determine the "rhythm" of each scene (Cullens, 2019).
For each beat, the character uses a different tactic to reach their objective (Cullens, 2019). Therefore, I also marked these on the script for each beat, using action verbs (verbs which are transitive, as well as involve emotion and an action), so that this could be turned into direction which would be playable for actors (Weston, 1996:30), aiming to phrase these using the verb which could most effectively help the actor convey the subtext. I marked Monica's tactics on the left, and Vera's on the right.
Overall, the purpose of the director's script analysis is to allow them to prepare and test ideas which they will be able to explore when collaborating with the actors (Weston, 1996:165). Script analysis - and the ideas this gives the director - evolves and changes during this collaboration, even if the director has finished marking their script. For this reason, the director should stay open-minded and flexible, remembering that the aim of this preparation is to allow them to be in the moment, and prepared, once filming begins (Weston, 1996:165).
References
Cullens, J. (2019) 'Beat It: Understanding Beats in Script Analysis.' In: Dramatics Magazine 27/9/19. At: https://dramatics.org/beat-analysis/ (Accessed on 27 April 2020).
Weston, J. (1996) Directing Actors. California: Michael Wiese Productions.
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