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ON CINEMATIC STORYTELLING

ON CINEMATIC STORYTELLING

I read a lot of scripts that read more like a novel’s worth of story shoved into a script-sized container. We get a sprawling ensemble of dozens of named characters, tons of plot threads, massive amounts of dialogue, and so on. It’s one thing if the script actually is an adaptation of a novel. But note that, even in that situation, the key word is adaptation. Not only is the story rendered in screenplay format, but very often adapting the novel to the script means finding the “movie version” of the narrative. Doing so usually means losing and/or combining characters,...

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